LAST DAYS OF MY RESIDENCY...

 

 

 

Almost 3 weeks of exploration, listening, observation, contemplation, frustration, joy, sadness, wrath,..- it must be fruitful one day this residency...somewhere...

Tried to find balance between falling and lifting up...smooth communication with the gravity...introduce every part of body with the rhythm, coordination, musicality,...

But probably everything will reveal in the moment of the performance..

communication vs. manipulation with the audience

Elongation of the SOLA/SOMA is a perfect timing for the performance. It was created in her specific form and logic, and it is the best length of the dance-theatre performance. It does not need anything else...

Tempo which you use on the stage will affect on acceptance of the show and continuation of the development, of the energy you are providing to the audience. First 7 minutes are the most important and influence on the rest of the performance.

Fear of boredom, repetitive movements, fear of "what I am doing right now?" will also change the level of interest in the audience.

What is behind the strong, simple, creative movement? Or that non-physical one? What do you want from your body and the movement? Do you want to present yourself as a Physical mover, dancer, or more conceptual, philosopher, thinker..?

TRACKING CONSTANT CHANGE WHILE BEING OPEN TO "NOT-KNOWING"

-being able to conscious track constant changes while also staying alert to my own 'Not Knowing' of what is coming next

-multilayered type of attention

-greater degree of skill and subtle awareness, since are messages are coming from the major movement, what Laban called "the shadow movement' and the words that the mover speaks.

The messages in the space are also coming from the practitioners own body.

I am in my own body and can listen my body, the mover is receiving the message that it is a safe space to listen her own body; provides a double container of attention to develop an inner witness. MOre sense, less vision.

EMBODIED ATTENTIVENESS:direct experience of movers own body as a means of registering what is being transmitted non-verbally by their movers. (extracted from article : Laban/Bartenieff Movement Analysis: A Vital Thread with Many Colours by Peggy Hackney)

When I am creating something I am creating with the forced concentration. It works only if I let my thoughts to be free and wild but at the same time in this distraction, I need to be alert. 

Sometimes the best things, or the best style is not coming from the best way of moving, it arise from doing simple movements.

William Forsythe for that accidental movements which arouse from the collision of continuity and when the body is trying to stay in that movement is calling "the flow of movement." However, it is not all about the continuous movement.