18 February 2011

LAB TIME 15.2. 2011

photos by Ana Gabriela Webb


We continue to explore the process from movement experienced to 'choreographed' form, we dont approach this as a process of editing the material but one of understanding, comprehending what the raw material 'offers' to the 'outside' as both separate and related to its makers. We continue to explore the questions of what makes material 'interesting' (in particular how what is interesting for me - as an issue of choreographic exploration - remains interesting for the other - beginning to address the issue of audience reception). We address interest as a continuum between 'pleasure' and 'difficulty'. I remind them of (I think it was Duchamp) who said the work does not tell me anything, the work brings me in to its world.... How do we bring the audience 'into' the work as opposed to bombard them with empty 'statements'. How does a work enter-tain us, a word that I define as how does a work makes us 'enter' into a particular state/world/perceptive new order and how does it 're-tain' us within it (a view of the word entertainment, which perhaps we all need to consider) so that disclosure (perhaps the old word revelation comes in handy) can take place - disclose what it is and what we are within it...and that includes artists and audience. Therefore how do we create a work that instills a 'search' for/in the audience in relation to the search of the creative process?. How is audience empathy therefore redefined as a sharing in a parallel creative search not one of merely sentimental mirroring, superficial and non-lasting? So lets us waste no more time in deciding -as if it were possible- what the work says but rather in understanding how what we shape has - makes - an impact - through the materials of our medium - in infinite ways.
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To choreograph a work is therefore to choreograph a search -- in an through the witnessing of actions, sounds, colours, tensions, etc etc etc -- how 'it' makes itself manifest, what the moment offers, but also what we bring to it... the question of 'origin not end' is equally posed to the audience.

We work in pairs, showing, exchanging, finding a language for what 'I witness'. We allow the feedback from the outside eye (in terms of what is perceived, what draws their attention, what comes to the perceptive field) to have an impact -- the feedback helps me clarify what I am doing, to helps me change, or takes me somewhere new, as an artists I accept the view from outside to inform my process, that which was 'foreign' becomes absorbed into the 'known'. We don' t speak of what 'I want to see' as an audience, of his is better if you do it to the right, or four times rather than six (the orthodox corrective treatment of choreographic editing) but rather we expose what I see present in front of me, disclosing the interrelation between the witness and the witnessed.

THOUGHTS ON THE GO II:

At the end of the session each one adds a phrase into the basket of this lab day, something that was left after the investigation, most of them spontaneous thoughts, traces:

  • ‘ The Other - Reflects Me ’ (Io)

  • Πως ακόμη και μία κίνηση μπορεί να φανεί περιττή ή να χαμηλώσει την ένταση του κομματιού αν δεν έχει βρει το νόημάτης. How even a move may seem unnecessary or lower the intensity of the piece if it has not found its meaning, its purpose. (Rena)

  • Είναι ανακουφιστικό να υπάρχει feedback την ώρα που κινείσαι γιατί σε πάει σε μονοπάτια ξένα για σένα. It is comforting to have feedback while you move; it can takes you to unknown pathways and clears blocks of your path. (Anthii)

  • Form my experience by experiencing my form. Experiences change my form into experienced process of forming. Forming is an experience of breaking formal form into experiencial form forming pathways. (Vitoria)

  • The origin of how we do what we do is the key to influence. This is the start to the journey. Breathe. (Maria)

  • Δεν υπάρχει σωστό και λάθος. Υπάρχει η καθαρή πρόθεση.There is not right or wrong. Only the pure intention (Eugenia)

  • Το εξωτερικό μάτι μπορεί να σε βοηθήσει να αλλάξεις το ταξίδι, να πλησιάσεις το συγχρονισμό με το presence σου, την αλήθεια σου. The outside eye can assist you change the trip; you come closer to the synchronization with your presence, your truth (Olga)

  • The issue is not to answer but simply to question. (Androniki)

  • In the universal unconscious lies the seed of any inspiration. When we honestly approach the source then we get a connection. (Rena)

  • There must always be a reason to move. Like breathing. (Androniki)