Post Op

Posted on Jan 16, 2014 in Uncategorized | No Comments

Today’s score:

At 9:45, the timer starts: 15 minutes of sitting/15 minutes of solo warmup & tuning/15 minutes of group warmup & tuning
At 10:30, we start 15 minutes where you can choose to perform or not perform.
At 10:45, we start three, fifteen minute intervals, the first is performing, the second is not performing, and the third is performing.
This is an hour-long work of art. Throughout the making of this work of art, you can choose to be in (making it, performing/not performing) or out (audiencing, witnessing, watching).
End at 11:30am.
Write for 5 minutes. Writing score: snapshots

At practice today: Anya, Leslie, Jess, Ron, Kris, Eric

Some snapshots:
The end with Eric and Ron. When Ron left and Eric was left there with the hands.
Eric: I’ve been thinking a lot about the rep I did while dancing for Bill T. Jones. I was in a little bit of “Soon” by Bill T. Jones in that moment.

Jess/Anya handstand with slow lowering on wall into trio with Jess/Anya/Les

First fifteen snapshot(s): Double duet, duet (Ron and Leslie), then Ron slipped out and it went into trio, and then he came back.

Trio with Jess/Anya/Les: Some time and development…
Eric talks about how often we’re in some kind of Theme & Variation, Anya mentions Tere O’Connor’s idea about Variation & Variation, more Feed Forward (not exactly repeating or referencing what’s happened, no ABA) but still informed by what has happened. Does he see this and/or are we doing this?
Kris: With there’s a lot of repetition, things like cannon, theme & variation, etc. might only be able to be read in those ways.
Anya: Performing/Not performing becomes correlated with paying attention to composing/not paying attention to composing.
Les: Maybe what I’m interested in is having a growing or expanding of what can be included in performing.
Last week it felt interesting to be in not performing…this week it felt like:
Kris: Historical legacy we’re in since the sixties is “anything is performance”.
Anya: Had a more physical through line/less dropping out of her physical experience, maybe due to keeping track of our own time? She got a little confused about the sections of time.

Eric: It’s become habitual or part of my “choreographed body” (Deb Hay) to scan the space, refresh my visual field, look around.

We all liked the aspect of being “in” or “out” today:
Greater variation of number of people who were in
Anya chose to sustain her choice to be out despite the impulse to go in…leaning on the score

What happens during “Not performing”:
chatting
dropping further “in”
composing less or noticing more when composing starts to happen
feels heavy handed to try to be in “not performing”
eating
talking about things outside of practice
resting
less paying attention to others
giving less space for others
being in relationship with others is not important
when I’m not performing, I don’t need to be there
always paying attention: energy “out” or  attention to others when not performing is more personal or sensorial; performing is more compositional

What if this was our list of things to work on when “performing”?
Eric desires the “chatting” and/or type of talking and storytelling that was happening during “not performing” is what he is interested in seeing in performance.

Why do we think this trio section is beautiful:
Something around development…sequencing over time
Matching/countering thing, together/not together, parallel/counter

Next week’s score (we didn’t get this far…these are Jess’ suggestions):
1. Fourth week working with performing/not performing. What if we do:
At 9:45, the timer starts: 15 minutes of sitting/15 minutes of solo warmup & tuning/15 minutes of group warmup & tuning
At 10:30, we make an hour-long work of art. We notice how/when the performing/not performing work over the past weeks comes up/supports us. We choose to be “in” or “out”.

2. Repeat this week’s score with no changes:
At 9:45, the timer starts: 15 minutes of sitting/15 minutes of solo warmup & tuning/15 minutes of group warmup & tuning
At 10:30, we start 15 minutes where you can choose to perform or not perform.
At 10:45, we start three, fifteen minute intervals, the first is performing, the second is not performing, and the third is performing.
This is an hour-long work of art. Throughout the making of this work of art, you can choose to be in (making it, performing/not performing) or out (audiencing, witnessing, watching).
End at 11:30am.
Write for 5 minutes. Writing score: snapshots

3. Make it a little more specific:
At 9:45, the timer starts: 15 minutes of sitting/15 minutes of solo warmup & tuning/15 minutes of group warmup & tuning
At 10:30, we start four, fifteen minute intervals of performing/not performing and we assign different orders to everyone so some are performing and some are not performing during each interval.
This is an hour-long work of art. Throughout the making of this work of art, you can choose to be in (making it, performing/not performing) or out (audiencing, witnessing, watching).
End at 11:30am.
Write for 5 minutes. Writing score: snapshots