Week 1: 30 July Laban Release & Improv Theatre

It’s only the second day into this dance/movement ‘structure” I’ve devised- today’s two sessions were difficult for me. Yesterday’s Hatha yoga session and the intensive breathing and stretching techniques was acrobatic on my mental focus as well as trying to channel energy from exhaustion/anxiety of reaching one’s limit and being urged to correlate the body to instructed postures.
The yoking of the mind to extreme yogic postures. Pushing body to its limits- yogic motivation to move towards greater spirituality.

In particular, full body connectivity and Laban’s dance release technique was investigated through beginning with floor based exercise of contracting, closing and opening the body via the extremities of the body. The Core-Distil Connectivity was a confrontation for me to locate the centre of strength that can carry me through the next two weeks, alongside breath.

With a different bodily pathway or approach from visual and live performative practice compared to the annotated forms of Laban’s dance language, I came across an obstacle in the short choreographic sequence in this first session, my body simply did not want to open out via the shoulders and then to rollercoaster down followed by the cutting of strings and a head led hands and knees crawl plank forward and tail back. Not smoothly, and not in that particular order. When I got it, eventual flow ensued and I felt it second nature so play could come.

In the experimental physical theatre session, I felt most safe with the grounding and voice exercises and least comfortable with the attempt of trying and not arriving in relation to certain exercises- imaging to be a creature most opposite to oneself- I chose a crocodile- then assuming various states of being as that entity- predatory, fear etc. I struggled with arriving at that space where my cells had processed and translated verbal instruction into a non-head linked movement. I was myself as absurd, in gallery, crawling on the concrete floor feigning crocodile hunger.  Later on, I was able to combine patterns and add the tonal quality to a sequence of gestures in response to two different music tracks, one slow, sombre, the other fast paced and high pitched. Again, on completion, the depth of entering and connectivity felt you had completed an entire musical score on ten different instruments.

We drew on dynamics of space and gallery window facade which allowed connection with passers by.

The unknown tomorrow in the shape of popping, locking and electric boogaloo…. hope I don’t break anything!

2013-07-30 10.17.04 2013-07-30 10.18.04 2013-07-30 10.36.37 2013-07-30 10.39.25 2013-07-30 10.46.40 2013-07-30 10.52.41 2013-07-30 11.08.55 2013-07-30 11.09.12 2013-07-30 11.10.53 2013-07-30 13.29.39 2013-07-30 13.30.10 2013-07-30 14.01.25 2013-07-30 14.02.22 2013-07-30 14.02.55 2013-07-30 14.10.15 2013-07-30 14.54.48 2013-07-30 14.55.35 2013-07-30 14.55.52 2013-07-30 14.57.25 2013-07-30 15.16.26 2013-07-30 15.17.43 2013-07-30 15.18.10 2013-07-30 15.18.34 2013-07-30 15.19.37 2013-07-30 15.21.25 2013-07-30 15.27.39 2013-07-30 15.27.51 2013-07-30 15.30.47 2013-07-30 15.30.53 2013-07-30 15.31.39 2013-07-30 15.33.41 2013-07-30 15.33.54 2013-07-30 15.34.07 2013-07-30 15.42.11 2013-07-30 15.42.56 2013-07-30 15.43.05 2013-07-30 15.51.57 2013-07-30 15.53.18

See Opening Talk & Performance, 27 July 2013, 2pm

See here for the Dancer, Participant & DVD Amnesty Open Calls

Main Shadow Dance text

See Schedule here

See other Documentation here

See Closing Event, Talk & Performance, 10 August, 2013, 2pm

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