Monday, 15 August 2016

Composure - Part III Session 5

July - November 2016

We partnered through pressure, through giving pressure and receiving pressure. We could offer pressure to joints or to the middle of bones, we could give it opposition-ally (hands on either side of a joint eg front and back of shoulder) or complimenting-ly (hands on the same place eg on both shoulders) The person receiving is aware of these differences. This lead to a long partnering improvisation exploring pressure, through and between two body parts, the moments of moving to the next pressure. We focused on being vertical. Some lift opportunities arose.

Rodney and Ben


Again we worked on our biosis duet, the swirling, the disrupting, the entering, the continuing of the partnership.
-catch, throw, grab
-good to interrupt with different methods -catch / throw self in / throw self out / throw other out
-we observe that our natural patterns of interruption (are we hesitant or bold) effect how we approach the duet. We try to challenge these patterns


we did 5 little improvisations, each of us directing a 5 min duet or trio. We made some interesting discoveries about our methods and approaches to being the shaper and being the shifter.

shaperwhat/when/how/why/where do you make decisions?
what/when/how/why/where do you give directions?
-aware of spatial relationships, if not satisfying, she will change
-chooses how she views the relationship, enters space to see from another angle
-identified the shifters natural, small gestures and built from there
-outside/other interests influenced directions
-if he didn't get idea or movement that he wanted, he continued to clarify the directions through use of more specific words
-enjoys being on the outside and seeing the whole improv, the complete/full picture
-sees an opportunity for humour and embellishes that
-play off what shifters are already doing and enhances
-views and directs from in the space, creates a third relationship -duet becomes trio
-alters method of giving direction -loud/quiet so the audience either included or excluded
-struggles to interrupt shifters if they are on a good path
-offers directions with large amount of freedom for shifters to interpret
-sees space in its entirety and understands how a change in one area will effect everything else
-often mimics dancer or moves to explore/understand what movement/movement  quality he wants in order to better explain it
-gives quiet instructions to specific shifters so that either the audience is in the dark or even another shifter, creating new levels of tension,
-gives tasks which require a long duration to achieve

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