Process Log #2

Getting it into the body is the hardest task especially in this disjointed, distracted…. yet highly focused situation that I have place myself in. I am exhausted just writing this sentence.

The deadline of a showing is such a relief and a pain in the ass. I know what I must accomplish and I am reaffirmed where I lie in the trajectory of my choice making. But without such deadlines I am sure my field would remain happily open.

It is has been an interesting process for me to draw from material that already exists, re-working material that is concept base and into something that may (or should) have a life of its own. I see the threads of the material’s origins are still present even in this most recent feedback.  

Spreading horizontally, oscillating, offering negative space – check, check and check! It is comforting to hear such descriptions knowing this is my intention in the source material.

However such feedback also restates a question for myself. Is this a sister piece and in the same family or do I continue to re-craft/re-create an entirely new sub-child/piece?

 ……. In typical fashion I do both.

In such a dual process (or my inability to detach from the original source) this recent feedback has offered new windows for attack to the very problems that I face in my thesis material.  

Where is the tension missing? – It is in the lack of frontal gaze: cutting through the space with the focus is just as effective as the body that cuts through space.

So now with this community feedback I am directed two fold. I am grateful for this question/positioning that will narrow the lens on the gaps and concerns that I am currently experiencing in my thesis project.

Onward to the present project I will direct myself forward based on the comments of localization. Ironic that in my interest in localized choreography - concentrated predominately on the body, the audience notices my use of space is the lacking or less considered element. An element that has been left in a broader undefined field. A fitting comment perfectly inline with my personal trajectory of the piece’s development.

A few other mappings can finally be considered or pulled out now that I know the movement initiations and the order of sequence. I am curious about the comments on shading the choreography: when am I super charged and when should I turn the lights down? I feel I have moments of this already but I haven't had time to really consider their compositional placement and how this colours the whole map. I am also a bit confounded but curious in the suggestion to map or direct the audience to feel and when. This seems a little heavy handed and not an aesthetic trigger that I gravitate too easily. I need to unpack this comment some more. I am reassured that being in as deep of abstraction that I am a little heavy handedness or obvious directing will come as a relief for the audience.

- feedback comments for digital archive and trace notes--

Shimmy is against DNA, a mutation = relief (this is at the very end.. do I need some sooner)

Shaping space as substance, Tracking thickness of space, audience wants to tune to this
Reads as density of space

Want to feel directed by hand gestures, are they set/conscious as much as your spine?
Gestures lighten the space.

Repetition reads as a motif, see images repeating not actual movement What is punctuation or is it all a waterfall effect?
Going to the “x” spot on the floor is clear- otherwise field is open for a very long time

Pouring, Holding curves, Dense -Invitation to go along with the ride is present Motif reoccurring, reads as a Journey for the audience, Letting us ride with you.

Porous on reoccurring motif

**Shading/choreography bright light or less bright? Bright light reads in the spine

I felt as though there was a totally different task happening on the inside, I felt it but didn’t need to know what it was. There was a clear navigation of the internal to external and I could see this happening, without needing to know every detail.
I see labyrinth- going deeper into it, levels in the body
 

Spreading horizontally, oscillating, Offering negative space

Where is tension missing? Frontal gaze, Cutting through space with focus, just as when body cuts through space

Suggestion: Put material in a very small frame
Map of whole world unclear, try localizing

Do you go back to same spot in time, in space, in time-space?

I see measuring/scientific/calculated Proportions?

Place of change- when does something change, use change as nodes, rhythm of change

There is a motif of keep going into the floor- this seems important, an orientation, but why?
The spin to floor 2^nd time there is a change, you are stiff- resistant

What is my attitude about the movement?, How is it occurring in the body? Tone, mechanisms, texture

Can you direct the audience how to feel? Map that, map how you turn the corner - be obvious I am already in thick abstraction

A line is cast, a solo begins

Entry # 1: Oct 1, 2014

To begin… usually this the biggest question and the biggest hurdle in any process.

So I start by casting a few lines...
	weighing my options
		and I am still waiting for the bite.

Waiting for my own intentions to bite and dig in that is.

In our community sharing, I quickly appreciate the sourcing of this initial feedback as it has helped me to frame my evaluation of the path to travel.

In accordance to my (1^st draft) proposal I source from material that is already available to me. I take the time to re-learn and reacquaint with the some-what familiar. This motivation serves me two-fold: partly to prepare for the intensive yet to come/improve my directorial articulation and partly to pull apart patterns, push my own edges and force myself into a refined intentionality (i.e.-go deeper).

Through the powers of video I stare at bodies that are not my own. I am confounded by the what is. I had a heavy hand in the making this material. In fact it is my process, my material. I adapt- where does this material fit on my body?

 (I panic, have I picked an uninspiring task to pursue? I breathe - you have only watched two videos. Relax.)

… the line is still cast, I can still retreat quickly and find a new cove for entry.

I breathe..


In my presentation of material I presented two sets. They are not connected, for referential purposes I will differentiate the two by labeling them 1^st Set and 2^nd Set.

The 1^st Set was as close to the origin as I could muster, including the initial creation source and the adaptations to present. (This information is beyond this posting, but if you are interested I would be happy to fill in the sub-text, just leave a comment indicating so).

The 2^nd Set was a re-approach, a listening. Cryptic I know. But I used my text of perception, listening, and sensing as my first filter in adapting the movement.  

An evaluation:
In the 1^st set I am drawn to the process of specified initiation and carving/following the path of travel or phrasing through the body. Although I am disenchanted with something slightly familiar to this performitivty or approach to moving. Can I challenge myself to stick to the local specificity of initiation and follow-through and not throw it away to the general sense like I always do?

The tone of the 2^nd Set is more unfamiliar to me and less defined. The wavering of time (matter of factness to physical surge) and the scale of performativity could be played, pulled apart, and structured in a way to develop and understand this more seemingly unknown place to me. Through the use of text and addressing the public the line between inviting and intimidating the audience is one not yet- but should be considered. I like this point and now personal challenge.

The question I posed at the end of the community sharing was to solicit verbalization in how to compare the differentiation or legibility of the two… if one was even present that is.  
If you, my community had your choice: which of the two sets should I pursue? Or what qualities from each set read as new challenges for me to pursue? 
 

-for digital archive and trace notes-

Feedback Notes:

1st Set: -Searching -Shape/Face -Long-stretched time -Syncopated -Intentionality in an interesting way -Initiations -Recognized may be hard to sustain

2nd Set: -Experiencing -Matter of fact in experience of -Bounce -Long -Not as complex in shape of body -Surging -Acceleration that was interesting but didn’t last - peaked interest than kicked the audience to the side of the road. -

Comments/Observations:

Crossing the mid-line
Beginning had an intentional use of time - sustained
(This was) Lost in the rotations (floor)- I need/use time of physics for thrust to resolve
Initiation of body parts- sometimes overlapping which read as a differentiation from the base line (4^th position pivot)
Vertical rotation with looking a thematic repetition
Unexpected weird chicken walk- strange but engaging (Jacinte’s pelvis articulation)
Talking style is reporting, which took place in the talking corner (DSR)
Movement coordinated with text
Shortly after reporting of facts turned into…. Oh this is about dancing (O2 reference)
Viewers gaped out in between surges (Crawl walk on floor to run in circle –was gap)

Pelvis play
Expansion- reach
 Back Space was very noticeable- this drew the viewer in
Articulation
Speed noticeable- slow down/rev up
The use of gaze created a knowing/unknowing spectrum.

Retreating sense of space- using the vertical up and down
Clear directions of focus but were many spots- didn’t know where audience was suppose to be lead, they got lost.
Describing and experiencing
Talking was simultaneously inviting and intimidating – it was a fine line and the audience was confused which side to live on.