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