Witnessing myself work: Uncomfortable
Look tense and strained, not natural
Aim: To show an ability to reflect of my own practise within an appropriate setting.
28.10.11
19.10.11
Dance Transformations Symposium
We are our own archive!
Does anyone want to see the process in a commercial environment?
Do we look for sameness or difference in inclusive dance? (do we need to sub-group?)
Unison
Human nature impulse to work as a unit but also individually
What does it mean to be an artist?
Always wanting more, Responsibility, uniqe way of seeing the world
Is art only art if recognised as art? (Context)
What is the role of criticism in inclusive dance? (again do we need to sub-group?)
Who is allowed to critique?
Are there different standards by which we are critical, depending on the artist?
Depends which stage the dancers are at.
Where does inclusive work sit within the broader dance ecology?
Why are there labels?
'Gatekeepers' controlling access to dance
Seperate selves?
At what point does an artist need to go it alone?
When is the playing field level?
Does anyone ever go it alone?
Not constrained
Never a level playing field for anyone
Building up resources to deal with barriers.
How do we own our choreography?
Acknowledgement? Belong to? Share? Embody?
Why do we need to own?
Does anyone want to see the process in a commercial environment?
Do we look for sameness or difference in inclusive dance? (do we need to sub-group?)
Unison
Human nature impulse to work as a unit but also individually
What does it mean to be an artist?
Always wanting more, Responsibility, uniqe way of seeing the world
Is art only art if recognised as art? (Context)
What is the role of criticism in inclusive dance? (again do we need to sub-group?)
Who is allowed to critique?
Are there different standards by which we are critical, depending on the artist?
Depends which stage the dancers are at.
Where does inclusive work sit within the broader dance ecology?
Why are there labels?
'Gatekeepers' controlling access to dance
Seperate selves?
At what point does an artist need to go it alone?
When is the playing field level?
Does anyone ever go it alone?
Not constrained
Never a level playing field for anyone
Building up resources to deal with barriers.
How do we own our choreography?
Acknowledgement? Belong to? Share? Embody?
Why do we need to own?
17.10.11
Year 2 Begins
After thinking over last year:
-All of my energy all of the time
-Show knowledge of my body in movement practice (Spend more time with my own movement)
-Treat my dance practice as one, rather than seperate componants
-Respond to all feedback
-QUESTION EVERYTHING
Setting myself aims I would like to acheive by each term and by the end of this year.
-All of my energy all of the time
-Show knowledge of my body in movement practice (Spend more time with my own movement)
-Treat my dance practice as one, rather than seperate componants
-Respond to all feedback
-QUESTION EVERYTHING
Setting myself aims I would like to acheive by each term and by the end of this year.
15.3.11
Plants and Ghosts (2002)
I used the online archive siobhandaviesreplay.com, to watch Plants and Ghosts (2002)
There were various sections to the piece which were very clear but there were recurring themes throughout.
The use of lighting and staging was very interesting as it wasn't the typical procenium arch staging and both this and the lighting created varying atmospheres and effects. For example, the lighting at the beginning and also part way through, which, both times highlighted a solo showed a dull blue light connontating cold or supernatural?
There were many instances of repetition in each individual section but also throughout the whole piece.
The most interesting part for myself was the solo performed by a woman using sign language and pre-recorded sound. The story was repeated multiple times whilst the woman moved to different points in the space translating the story into sign language. The story gradually became more and more complex, introducing new details to the story and was quite comical in parts.
Translated into movement creation?
There were various sections to the piece which were very clear but there were recurring themes throughout.
The use of lighting and staging was very interesting as it wasn't the typical procenium arch staging and both this and the lighting created varying atmospheres and effects. For example, the lighting at the beginning and also part way through, which, both times highlighted a solo showed a dull blue light connontating cold or supernatural?
There were many instances of repetition in each individual section but also throughout the whole piece.
The most interesting part for myself was the solo performed by a woman using sign language and pre-recorded sound. The story was repeated multiple times whilst the woman moved to different points in the space translating the story into sign language. The story gradually became more and more complex, introducing new details to the story and was quite comical in parts.
Translated into movement creation?
Siobhan Davies Replay
http://www.siobhandaviesreplay.com/lightbox.php
Most of the pieces I have scrapbooked on the online archive are a collaboration between various artists, not just Siobhan Davies herself. I also included Bridge the Distance (1985) into my scrapbook as I chose to use this piece as a stimlus for the A Level graded piece.
Most of the pieces I have scrapbooked on the online archive are a collaboration between various artists, not just Siobhan Davies herself. I also included Bridge the Distance (1985) into my scrapbook as I chose to use this piece as a stimlus for the A Level graded piece.
Feedback/Work in Progress sharing
-use the actual sound of the breath
-use of eyes and focus, play with difference between having the eyes closed and moments of open.
-definately need to warm mind and body beforehand
-see each other
-longer movement before sound is included
-hear and see at different times
-not class based phrases
Subscribe to:
Posts (Atom)