July - November 2016
vocals
This week we explored some activities/games to unlock our voices / to give life to inanimate objects / to make meaning of movement. In pairs we described the space for each other then described each other's movement
-physically describe: (lines, shapes, colours)
space
movement
-emotionally describe: (emotions, feelings, characteristics, textures, personification)
space
movement
-metaphorical/abstract description: (story, concept, representation, idea, poem)
space
movement
NB: we are using our voices to produce words to give layered details to our movement, rather than creating sound for a soundscape/score
This is really hard and requires a new kind of concentration/focus. We have to access a new method to the process of verbalizing thoughts.
physically description: simple, lots to see in the space, hard to identify shapes and lines in the body when it moves....as the shapes and lines keep moving!
emotional description: we try to stay true to the feeling of the object rather than quick fire emotions that come to mind. One of us kept going until they found the right word. One person's emotional description came from their own emotional attitude/connection to the object or movement at the time
One of us kept going until we found the right word.
[Is the mover effected by the description!? yes, always. to ignore would be dis-intuitive, disassociated, disconnected/disregarding the point of offering movement. Though, mostly the mover decided to do the opposite!}
IMPROVISATION
Our 20 minute improvisation was full of vocals. We could establish partnerships more easily and clearly and through that connection between voice and movement.
-The shapers told stories, explained what self was doing, explained what other was doing, spoke lists of words.
-Awareness is stronger through using hearing sense (know where people are/what they are doing)
-Vocals offered a stronger overall arch -helped us make sense of the improv and in turn contribute more constructively.
-We need to practice how to 'drop out' of a vocal task. We have developed an understanding of how to fulfill a movement task (it could be 30secs long, it could be 4mins) but using vocals seems harder ... do we have to conclude the story? do we have to answer our own question? how can we morph one vocal task into another?-Did the first vocals set up the whole piece? we debate this most weeks... do the first moment/s of the improv set it up/dictate/establish the work [can we oppose those first moments?!] but....we will never know, what the 'other' improv could have been.
The shifters worked in a pair, and consulted each other before offering directions to the shapers. (Shifters could swap out/in with a shaper.) Some partnerships consulted as mode of reassurance, some as a form of collaborative instruction, some just to inform the other beforehand.
How do we move away from our associations with words. How do we de-socailise our words to access abstract vocal pathways. How do we use our movement skills to create/change/develop the vocal explorations.
ALSO: Do our minds network subconciously..... without our conscious knowing... is this how we create?
vocals
This week we explored some activities/games to unlock our voices / to give life to inanimate objects / to make meaning of movement. In pairs we described the space for each other then described each other's movement
-physically describe: (lines, shapes, colours)
space
movement
-emotionally describe: (emotions, feelings, characteristics, textures, personification)
space
movement
-metaphorical/abstract description: (story, concept, representation, idea, poem)
space
movement
NB: we are using our voices to produce words to give layered details to our movement, rather than creating sound for a soundscape/score
This is really hard and requires a new kind of concentration/focus. We have to access a new method to the process of verbalizing thoughts.
physically description: simple, lots to see in the space, hard to identify shapes and lines in the body when it moves....as the shapes and lines keep moving!
emotional description: we try to stay true to the feeling of the object rather than quick fire emotions that come to mind. One of us kept going until they found the right word. One person's emotional description came from their own emotional attitude/connection to the object or movement at the time
One of us kept going until we found the right word.
[Is the mover effected by the description!? yes, always. to ignore would be dis-intuitive, disassociated, disconnected/disregarding the point of offering movement. Though, mostly the mover decided to do the opposite!}
IMPROVISATION
Our 20 minute improvisation was full of vocals. We could establish partnerships more easily and clearly and through that connection between voice and movement.
-The shapers told stories, explained what self was doing, explained what other was doing, spoke lists of words.
-Awareness is stronger through using hearing sense (know where people are/what they are doing)
-Vocals offered a stronger overall arch -helped us make sense of the improv and in turn contribute more constructively.
-We need to practice how to 'drop out' of a vocal task. We have developed an understanding of how to fulfill a movement task (it could be 30secs long, it could be 4mins) but using vocals seems harder ... do we have to conclude the story? do we have to answer our own question? how can we morph one vocal task into another?-Did the first vocals set up the whole piece? we debate this most weeks... do the first moment/s of the improv set it up/dictate/establish the work [can we oppose those first moments?!] but....we will never know, what the 'other' improv could have been.
The shifters worked in a pair, and consulted each other before offering directions to the shapers. (Shifters could swap out/in with a shaper.) Some partnerships consulted as mode of reassurance, some as a form of collaborative instruction, some just to inform the other beforehand.
How do we move away from our associations with words. How do we de-socailise our words to access abstract vocal pathways. How do we use our movement skills to create/change/develop the vocal explorations.
ALSO: Do our minds network subconciously..... without our conscious knowing... is this how we create?
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