Pathways from vertical suspension to the ground

Pathway from vertical suspension to the ground
Continuing into the ground

Repeating an improvisation for it to become something other than just improvisation.

Repeating until something finally makes sense and feels right

Beginning Duet

Duality
Making decisions is a concious action not a reaction
Staying with one thing is difficult committing
Group score - to witness levels and clear connections an opening when asked to help explore different moments of contact build trust unexpected confidence to just let happen but obviously pre-thought is involved moments of stillness and interruption staying with something e.g unfamiliar (hand on head follow with it, not to do the natural) restriction?
Ending not neccesarilly still or like rest of the group

Body Part Duets

Challenging to stay with own movement and connect
Thinking too much
Starting poing, offering

Space/Place

Polycentric and Non-procenium space
Interior and exterior landscapes
Site-specific (specifically for one place)
Place(designated area)
Space (where you move into? inhabiting?)

Duets with chair



Exploration of Space/Place

Duet beginning

Seeing and reading works important!
Relationships

True duet is that each performer is essential to the whole
JIGSAW (not same but works together)

Conversation with partner (can't answer question because don't know the question)

Stop thinking don't question be confident with self don't try to understand just do be more aware of tasks and of partner don't try to understand feel work together not just you others too don't need to be close don't force just let happen contact can be simple more attractive work together can leave and return enjoy.

Paper Duets

Introduction of paper and pen to improvisations in duet form.
Relationships with partner.
Not being too careful with paper, can rip.
Move from idea of drawing/painting with body parts, draw round.
Choreograph duet from scores just made on paper.

Would it be as effective as a solo?

Choreographic solo sketch - Diffidence

My solo piece began with a piece of writing from Daphne Du Maurier's novel Rebecca;

Firstly, I looked at the idea of being 'handicapped' by restricting the movement of one body part. For example, my first improvisation involved leaving the forearm restricted to the floor without any movement. I also completed more improvisations focussing on other body parts, such as the feet and legs.

I found that within these improvisations I wasn't dedicated to keeping the body part restricted. I then decided to see if the movement would change if I physically resticted my movement. As another layer to this, I looked at the writer's focus on the contrast between timid and bold. I found being physically restrained easier to move more freely.