July - November 2016
warm up:
-lying, feeling comfortable, pushing, weight into floor, gradually moving to hands and feet then to standing
accessing body/weight/gravity to move the solo body
-connecting one body with another:
-coming together, using eye contact/sense contact then physical contact, transfer bodies together from standing to lying, separate, rise. repeat.
shared movement, reliant movement, reactive movement
-do the same from a distance.
the void between fills with the recollected imagining of the partner
IMPROVISATION:
-used a different (very small) space. this had an unexpectedly strong influence on our interaction with each other.
-used more props -interact with, extend from, relate through
-created story through familiarity with objects -chairs, curtain, piano
-used a specified start time and shaper invited the shifters into the space
-the first time we did not create a 'front' (before or during)
some questions:
-how can we identify how to 'get into' the improvisation? what is my access/axis point?
-shaper struggled to be on the outside looking in because of small space they physically were in the 'performance space' does the shaper need to be out looking in? how can they be in looking in?
-if a small space restricts physical possibilities, how do disregard the limitations to uncover alternate possibilities?
warm up:
-lying, feeling comfortable, pushing, weight into floor, gradually moving to hands and feet then to standing
accessing body/weight/gravity to move the solo body
-connecting one body with another:
-coming together, using eye contact/sense contact then physical contact, transfer bodies together from standing to lying, separate, rise. repeat.
shared movement, reliant movement, reactive movement
-do the same from a distance.
the void between fills with the recollected imagining of the partner
IMPROVISATION:
-used a different (very small) space. this had an unexpectedly strong influence on our interaction with each other.
-used more props -interact with, extend from, relate through
-created story through familiarity with objects -chairs, curtain, piano
-used a specified start time and shaper invited the shifters into the space
-the first time we did not create a 'front' (before or during)
some questions:
-how can we identify how to 'get into' the improvisation? what is my access/axis point?
-shaper struggled to be on the outside looking in because of small space they physically were in the 'performance space' does the shaper need to be out looking in? how can they be in looking in?
-if a small space restricts physical possibilities, how do disregard the limitations to uncover alternate possibilities?
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