Week 23/02-01/03

Keywords of the Week:

Trust, Ontological Existence of the Movement, Emotions, Speed, Form, possession

The previous week I focused on the conditions through which the performer can trust her body and follow its desires. This week I continued working on the idea of trust. I started from the idea that as a performer I need to trust the movement which is generated during my dance; to generate it and create a distance of it so that it can exist on its own. However, why is that important; To create a distance from the movement and let it exist on its own? The notion of possession comes to the surface; the desire of having the possess of something. In our case, the possession of the movement.

What would it happen if we redefine our connection as dancers with our movement? What if I assume that I just give a birth to a movement and let it exist in the space?

The possession of something lurks an emotional state; the desire to keep the movement. So, what I want is to find ways to generate emotions which come from the movement and not from my emotional state.

In the context of the improvisational performance, building up an awareness about my emotional state it helps me to delineate an environment where both audience and performers share the present now.

Finally, this week was very confusing. Many different things, nothing clear, different elements that I tried to make them more clear but it failed. The rhizomatic approach of my research didn’t work.

Need to define the elements in order to arrive to a rhizomatic approach, to create a specific structure in order to mess it up.

But do you know?

Maybe I just need to admit that some things just exist through a chaotic way and cannot happen with another way.

End of this week

finito

Let it pass away.

26/02: I tried to observe what are the emotions which are generated through specific kind of movements playing with repetition, speed and form of the movement.

A score for playing with form and movement:

A 5 minutes dance:

A symmetrical body

Dance while creating lines in your body. Be aware of the relation between your movement/body and the space. Gradually, let the circular movement blend with the symmetrical one until you arrive to the point that you move in the dance through a circular movement.

After the dance, observe what were the emotions which appeared during the dance.

28/02: I activated one of my scores together with Fernanda

Check: movement poetics #3