Katye's and Charlies Performance

Katye's and Charlies performance contained similar elements to the class that they had taught us that week in Contact Improvisation.
Their eyes are closed the majority of the time, and perform with eachother via sensation. This particularly showed how embodied they were in what they were doing, and has made me since try this technique more for myself which has aided my movement production.
They use their senses to investigate eachothers bodies, as well as to manipulate and interupt the others movement. However, as the performance went on, I realised these interuptions didnt stop the moving, but just provided a new pathway and therefore a new set of movements to be discovered.
There was no leader, and therefore they relinquished weight equally.

The performance had a particular significance with me due to me being one of the 2 choreographers that have the only 'male and female' performers for our duets. Therefore Katye's and Charlies performance reminded me of the 'Rosemary Lee' duet we watched in class which dominated around the question 'can a man and a woman exist in space together without distinguishing a relationship?'.
This has inspired me to use this idea in my choreography for Gabby and Lewis, to see if in fact a man and a woman can move in space together, without a relationship being present, and it focusing purely upon 2 bodies, regardless of their gender.

Within their performance, I noticed a lot of Katye's practise i.e. the "sixth sense" as a dancer we discussed during last term in Katye's Improvisation/ Instant Compositon classes in the 'dancer v.s. maker' task.

The performance on a whole felt like a puzzle, as though each person was trying to discover something new constantly, which maintained the interest of both the dancers and the audience. Their trust in eachother was vital as it aided larger and more difficult movements to be performed without an injury occuring and maintaining the high performance level. It was interesting to watch how as one thing developed, my understanding of the performance changed, and this happened all throughout their performance.

Choreography Workshop 11/02/14

In todays choreography workshop, concentrated specifically on the RSVP Cycle as a way of choreographing.

R- Resources

S- Scores

V- Valuaction

P- Performance

 

 

We got into groups of four and were instructed to find a place to complete the RSVP principles, and create some dance material.

 

My group decided to stay in 221 to complete the task, which at first I was apprehensive about; due to us being in their the majoirty of the time, I felt this may become a restriction. However, after looking and going through the principles and what they consist of one by one, I noticed and utilised things I havent before.

For example, I focused on the curtains:

- their structure... can be widened, shortened, lifted.

- ways of moving with it i.e. under it, through it, around it.

- perspectives... being close to it can provide a sense of chlaustrophobia, being away from it can make them seem harmless, being behind them can make you feel mischevious and sneaky.

- sounds they provide

- imaginitive possibilities... opposite of the saying 'walk into the light' e.g. evil, mysterious, dangerous.

 

We then looked at common themes that occured when I provided my account of looking at resources and others in my group provided theirs from being in a different area in 221.

 

Our score was then produced which focused around darkness and restriction.

 

Material then started to be produced with our use of lighting, utilising the curtains in different ways, positioning of the audience to enhance the restriction and isolation, and introducing a variety of sounds i.e. clapping, walking softly then with force, shaking the curtains etc.

 

I really enjoyed the workshop as it made me see the studio in a different way and broadened my mind to possibilities that I didnt think were there.

The RSVP cycle has provided me with confidence and new ideas for choreographing the duet as it is a structure that allows material to be produced by lossing at things that you would usually overlook and take for granted.

Improvisaton/ Instant Composition 10/02/2014

In todays session, we had to think of an 'impossible task', then exchange these tasks with another, and find a way of transforming them into movement.
I provided someone with the task of 'raining fizzy bottle sweets', whilst I recieved the task of 'jumping on my nose'.
We produced our interpretation of the task into material, then made variations by travelling it, slowing it down, taking a chunk of it and repeating it, then finally visually the piece as a piece of paper then folding it in half: the first and last sections become on top of eavhother and therefore as one... this concluded to be impossible as compromises had to be made in order for the movement to be possible.

We then got into groups of 4, and were given the above image as our score to create a piece that included each persons impossible task. We had movements based around rainbows, travelling to another planet, raining sweets and jumping on the nose. But due to the amount of material each person had, it was down to choosing parts to collaborate with anothers.

The final result was brilliant and showed a variety of choreographic ideas.

 

This lesson was a huge eye-opener for me, as it showed me how much material can be procuded from one very simple idea/task, in such a short amount of time.

 

It also allowed me to see how one persons interpreation of a task can differ to someone elses, and that neither are wrong, but both ideas can be used to choreograph and create dance.

Duet Rehearsal: Performing. #rehearsal1

Today was my first rehearsal as a performer alongside Kelly, for our choreographers: Abbie and Natasha.

The main focus was on the breath. We moved whilst Natasha read from 'Body Space Image' by Miranda Tufnell and Chris Crickmay, then to some music whilst reflecting upon techniques we have learnt in Skinner Releasing and Contact Improvisation.

I found it challenge to sometimes remember which breath I was on as breathing is an involuntary process and can be hard to keep track of when its something you do all the time without thinking.
However, we managed to complete around 2 and a half minutes of material that varied from simply breathing, to moving with the breath, to Skinner Releasing techniques, to moving in unison.

Each time we rehearsed the material it got better due to it becoming more natural in our bodies, and it was easier to let go, enhance the dynamics , and find new ways on moving once the structure was clear in my head.

Contact Improvisation: Katye & Charlie 21/01/14

Today we were working with Charlie as well as Katye on contact improvisation.

The exercise in the video involves 2 people staying in contact with eachother whilst turning. Both mover's pelvis' come stay in contact which also involves the ribcage also sometimes coming into contact. The arms are left suspended in the air to allow the movement and specific point of contact to occur. It was interesting to work this way with a partner, but also made me feel quite dizzy as we were spiralling alot in this exercise and throughout the lesson on a whole.

In addition to this, we also did another partner-based exercise which involved partner A being on there hands and knees, and partner B finding ways to use that person as a form of support.
I really enjoyed this exercise as it introduced a new way of moving for me. It made me feel very supple, and therefore eager to experiment with new ways of moving when in a duet. It was extremely interesting when a new instruction was introduced of both partners moving, and I felt really embodied and intrigued by what was being produced.

Feldenkrais 17/01/2014

 

Todays Feldenkrais was very different to what we normally encounter as we only lay on the one side which was the left side. In every other Feldenkrais class I have been in it has been very symetrical where if you perform something on the left side you then repeat it on the right. However today we remained on our left side and occasionally lay on our backs.


At the start of the class before lying down on the mats, we stood in parallel and shifted the weight from one side to another, putting pressure into one foot then into the other foot. I was OK with this exercise and didn't have any problems with it.

We then lay down to begin the other exercises. We took hold of our heads and lifted them slightly off the floor at a slow pace with the other arm stretched above the head.

We then repeated the exercise but also lifting the top resting leg. This enabled me to feel work emerging in my ribs and spine.

When repeating these throughout the lesson, I felt that they were becoming easier to perform each time. My body felt more comfertable with what I was performing and I didnt have to strain like I did at the beginning.

We then extended the leg forwards and backwards whilst still holding the head. This increased the feeling I was experiencing in my spine and ribs.















At the end of the lesson, we repeated the first exercise of standing in parallel and transferring the weight from one foot to the other. As we were performing everything on just one side for a change, I knew my balance would be affected and I was correct. I felt very unequal and my balance was thrown off  which caused me to wobble slightly in that finishing exercise.

Skinner Releasing Technique 09/01/14

The image above is an entry to my journal after the first Skinner Releasing Class.
I really enjoyed the technique as it allowed me to feel connected with the group, as well as with my own body. I feel the inner connection was due to the poetic language used that allowed me to visualise parts of my body when doing a 'scan'.
The graphics were really helpful and also allowed me to embrace that connection with myself.

After the class, I carried out some research of my own to find out more about Skinner Releasing Technique. My findings matched my experiences such as imagery being used, graphics being performed on eachother, connecting the mind with the physical body, calm atmosphere in the room etc.