July - November 2016
Exploration of milling and seething layer groups including catch, throw, grab - increase awareness of the space and encouraging interactions with other shifters with a direct intention.
What happens when we merge these three options? It forms a mode of manipulative movement through which we found these options:
-Biosis Duet
continual exploration of catch, throw, grab.
what are the possibilities as an outsider during this interaction. How can we allow the continuation of movement without interrupting the flow.
-Lurkers on the outside
heavy engagement without physical interaction.
Rip the duet apart to keep it together - actively encouraging change and development
-Provide a support as an escape rather than waiting on a 'jump rope' moment
IMPROVISATION
-Exploration of adaptation in regards to the mode of giving 'instructions' - or 'shaping' the shifters
- this meant a more conceptual approach to direction, layering influences or meaning to existing movement rather than applying a physical change to a shifter
-Used one shifter as an 'informant' for another; Omea expressed an extremely rational explanation to the movement being used, and inspiration/keywords were taken from the dialogue by our shaper and given to another shifter, Cushla, as a movement or conceptual catalyst. This created an externally available relationship between the two performers without affecting their own perception of the interaction
Exploration of milling and seething layer groups including catch, throw, grab - increase awareness of the space and encouraging interactions with other shifters with a direct intention.
What happens when we merge these three options? It forms a mode of manipulative movement through which we found these options:
-Biosis Duet
continual exploration of catch, throw, grab.
what are the possibilities as an outsider during this interaction. How can we allow the continuation of movement without interrupting the flow.
-Lurkers on the outside
heavy engagement without physical interaction.
Rip the duet apart to keep it together - actively encouraging change and development
-Provide a support as an escape rather than waiting on a 'jump rope' moment
IMPROVISATION
-Exploration of adaptation in regards to the mode of giving 'instructions' - or 'shaping' the shifters
- this meant a more conceptual approach to direction, layering influences or meaning to existing movement rather than applying a physical change to a shifter
-Used one shifter as an 'informant' for another; Omea expressed an extremely rational explanation to the movement being used, and inspiration/keywords were taken from the dialogue by our shaper and given to another shifter, Cushla, as a movement or conceptual catalyst. This created an externally available relationship between the two performers without affecting their own perception of the interaction
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