Devising no memory section

In Abbi's rehearsal, we had brought in scripts/monologues/ we'd written over the previous days and read them out to the company. It gave us a chance to see what scenes now had dialogue and what needed to be filled, as well as this it gave us a sense of what moods and atmospheres scenes would have that we can build on.
From hearing these, we then split into 3 and each took a different piece of dialogue. Karl, Elsa, Megan and I took mine and Megan's monologues and combined them. They were very contrasting, one was a man having an ordinary chat about ordinary things and mine was about the limitless space we live in where our lives are so small. One focused on the bigger picture, and the other the small, so it was interesting to see how they combined.
Karl read through his monologue, but would stop in places where the three of us would interject with my monologue. What was nice was that even though the two contrasted, they fitted together. It got the audience to think more outside the box, and having to listen to two, seemed to create a better focus, instead of giving them an easy ride to just listen to one that flowed on its own.
We banked the idea for now, but ways to develop it would be through adding more everyday gestures, with Karl getting up and doing everyday activities, perhaps integrating the two in space as we stayed further upstage, so intertwining in both space and words.
The others were a scene to do with the P.O.W section, before our movement sequence.

We then focused on how we could devise the no memory section. Abbi got us to each pick a sentence from a monologue of our choice and find gestures we could perform alongside the words. The group was split it half, one doing one watching. The first group had to walk around the space miming their words and gestures, one person was acting as the old woman, searching for a memory. When you were tapped on the shoulder, you then spoke with gestures. They would touch more people at a quicker pace which meant words were flying around the space, overlapping, varying in tones and pitches etc.
This was then developed into adding a book to our sequences, they became doors, steps, hats, birds and others. When you were tapped you performed the sequence spoken with your prop. The old lady would then find one memory which she would try to hug, nurture, hold on to as if clutching to a precious memory before letting go and moving on.
It was then developed into the old lady taking away your book to search, if your book was taken away you stopped where you were and if the wrong book was given to you, you threw it to the floor and started singing, you could only perform your sentence with your book.
Visually, it looked great, the lines would have all featured in the play at a point, so it was like all her memories jumbled into one. The movements layered it, and it was like the sentences were written in the books that were being held. As the pace picked up you had movement, singing, overlapping of speech, where it looked chaotic yet had an organisation to it, messy yet not ugly looking. It provided us with a great starting point to the section, where we were originally struggling. This idea was banked.