Friday, 14 September 2007

Patrycja - After Portugal

7 weeks divided into fazes. Different places on the map of Europe, different places on the map of mind, different places on the map of sound.
Balance between clarity and confusion.
Measuring profits.
Singular measure, singular image, singular sound measure.
Developing consciousness of singularity.

Silent mentors.( Thank God they exist!)

Incredible, overwhelming power of TALKING.
I am ready to DO again.
To filter important words from pretentious bullshit.

I am stilling from Scott “to organise yourself” and “survival”.
(got the feeling that sometimes half of energy simply goes to organising yourself in the situation you are in)
It s all about survival.
It’s about rebel as well.

Lesson of patience.

Simple joyful moments of sonic games.
Moments when music is the main essence of action, not only an accompaniment.
Blured border between “real” musicians and the others.
The musical potential of shitty casio keyboard, wooden ikea box, piece of paper…etc.(nothing new, but still… entertaining)

Reluctance of dancing, “throwing shapes”.
Rather still pictures, soaked in sound and silence.

Workshop about conceptualism, form, picture, structure, building, deconstructing, stripping of.
Trying to store everything I’ve witnessed in my brain safely, so I can use it (OR NOT) in the future.

Useful laboratory.
But after laboratory I have a big appetite to take part in some sort of loud and colourful project with costumes, outrageous wigs and faked moustaches , full bodied characters and big, fat, narrative story in it, and loads of messy props …and a harp…or something…frivolous like thatJ

(I guess I am not exactly a “theatre purist”)

P.K

Tuesday, 11 September 2007

Darren - Final blog

Well what an interesting six weeks it has been for me. I started feeling lost, unsure and coming out at the other end musicalised, not dancing as much and to be honest very surprised were I ended.

The two-weeks in Portugal were more refined then the weeks in London. There was less talking and more doing. Picking up different threads from the previous weeks and trying things out. It seemed liked we did loads. Different ideas for tasks each day. Although the overall theme of musicalising the dancers, was present throughout the two weeks.

During these tasks many of the things we talked about, like making choices explicit, were extremely evident in the tasks we were doing. There was a real time delay, the performer felt like they were in real time dealing with the problems that faced them.

It was great to be able to work with Charlotte directing the task (yet it was free in the sense that we could offer suggestion) and having Val and Janusz we were allowed to look at things that interested us.

The final two days were enactments of previous task we had done over the past few weeks. It felt like there was something in that. From a theatrical point of view and all so from a performative perspective. I would be happy doing some of the things we did on stage in front of an audience.

One could never of guessed where we would end but finally reaching the end it, felt like the most natural thing... like we always kind of knew but had to go through the previous four weeks to get there. Pause (count 6)


I think I might take this moment to thank every one who was part of this. I look forward to the next meeting of the 'super group'.


I could sing a song for you instead or I could end this blog right now.

Darren

Monday, 27 August 2007

Sounds of London

A face almost always crying
I just want to be post modern
Roly poly Scott
Theatrical Failures
Liz and me in the corner
Boundary your space
You can’t always get what you want
We look like Forced Entertainment
It was tedious – when we work like this it always ends up the same
Suspended frames x 10
Eva Bitova
Lighting the space
The silent task
Val’s song El Celo in una stanza
Lindsey sitting still
Re enacting the tasks
Fuck You
You Pussy
Darren absence
Scott shining lights on people
Chalk on the wall
Smoking invisible cigarettes
Am I allowed to lie on someone’s lap
Drawing big genitals on the floor
Feeling attraction for Scott / Oracle
Darren wanting to lick my pussy
Chalk falling on the guitar
Black space Chalk
Boys changing room
Silent guitar man

Val Blog

Day 21.
We are in Portugal. Montemor o Novo. I am going to propose my task for myself and whoever wants to join me. I am interested in graphic notation. During the four weeks in London some questions about self-portrait, music, composition, interpretation triggered my curiosity and imagination. Here it feels the right place to try some ideas I had about it. As now Charlotte is doing yoga, Alex just finished a long session on his cello, Darren, Janusz and I are writing.


Charlotte questions for solo work


Start at the beginning
What memory or singular emotional location do you want to work with?

Where would you place yourself?
How in this environment would you choose a frame for yourself?
Boundaries the space
Work with the limitation of that place/frame you have chosen
What do you remember?
What would this miny production look like in your head?
What would you include in it?

What would be a good start?
Where does the impetus for movement comes from? Everything must count
Act on your opinion, be inventing and remove the anxiety around what you are doing
How do I compose my senses?

What music would you chose?



Day

After a yoga class, we did or we tried to do, some musical voices harmony under Alex instruction. He is composing a Requiem and he would like us to be involved with it. .walking faward,
your own voice in a group,
to get somewhere.
Our for weeks journey in London.
Moving on the same count, as one,
wanting to find agreement.
Disagree.
Listening,
parallel walking.
Apologizing .

Laughing
Counting
Disagree on counting
Anticipating sounds
Louder / softer
Silence
Holding a note




Requiem 2

Day 24
FRIDAY 24TH AUGUST PORTUGAL



For some reason we want to write a requiem together
Maybe it’s the environment
Maybe a response to working in church buildings – Moving East, the Convento.
Maybe its because I mentioned making The Last Dance on the first day of this RandD

Maybe its because we have had enough of dancing

Common theme of requiems is the prayer for the salvation of the soul(s) of the departed, and it is used both at services immediately preceding a burial, and on occasions of more general remembrance.

Eg A requiem in 7 movements:
Kyrie (D minor)
Offertoire (B minor)
Sanctus (E-flat major)
Pie Jesu (B-flat major)
Agnus Dei et Lux Aeterna (F major)
Libera Me (D minor)
In Paradisum (D major)

Using the 5 weeks of R&D as a source we remembered images sounds and thoughts from wat we had shared together then each took a week and sculpted a sound track out of the fragments

Week 1
Bowing on entering the space
I just wanted to do bodywork
Working through emotional catharsis is old fashioned
Self portraits
Sun in the face
Apologising naked
Tango
Saying No
Peter Brook – first day getting you through top the second
Motherland
Stand Up
No more leading
7 people
New beginning
Old habits
Talking
Being on the outside

Week 2
Leah smiling
Ellie’s chair task – rhythm
An hours sleeping
Coffee bar on the corner
Loading the van
Cancelled show
Sitting in the park
JO hugging Nom
Leah’s Mummy Mummy
Sleeping exercise and fidgeting
Going to the house with Alex and Rachel
Confusion – middle of I have no idea what you are talking about
Provocateur - adjusting to the set up – the way I talk - semantic wars
What if I had 100 mums and dads
Wendy’s text logging from Vienna – no revisiting
Frameworks hard and fast in place
Gather around to have a discussion
Text – publicity quotes – hard sell
Leahs scales
More music in the space
Roles Leader Documenter Chair Dramaturg


Week 3
Lack of content
Emphasis on Pauses
Chaos
Lack of humour
Dysfunction
Boredom
Misunderstandings
Conflict
Something emotionally ungainly
Doing what you fancy
Reading remainder
Charlotte Crying
Feeing things up
Not getting it
Alex longblog
Feeling lonely for the first tome
Waves sea cloudless sky warm sand
Sliding finger on the dance floor with Scott Talking counting poses
Recording of conversations
Spinning and delivering
Tired of using words to describe what doesn’t need to be described
Misunderstanding of personal intention
Free to be tied up any old way you want
Darren is it lunch yet?
Ruth’s legacy overturned

Week 4
Lindsey’s tragic face almost always crying
I just want to be post modern
Roly poly Scott
Theatrical Failures
Liz and me in the corner
Boundary your space
You can’t always get what you want
We look like Forced Entertainment
It was tedious – when we work like this it always ends up the same
Suspended frames x 10 Eva Bitova
Lighting the space
The silent task
Vals song Ilcialo in una stanza
Lindsey sitting still
Reenacting the tasks
Fuck You
You Pussy
Darren absence
Scott shining lights on people
Chalk on the wall
Smoking invisible cigarettes
Am I allowed to lie on someone’s lap
Drawing big genitals on the floor
Feeling attraction for Scott / Oracle
Darren wanting to lick my pussy
Chalk falling on the guitar
Black space Chalk
Boys changing room
Silent guitar man
Liz – talking about finding his own choreographic voice
Glen Gould
Got the money for next year
Pictures

Week 5
Playing the house
Scott looking deeply into PK
’s eyes and PK obviously melting
Me screaming whenever Alex hid in a doorway
Not having any time to stop – breathless schedule
Board meeting
Marketing meeting
Office meeting
Electrical cables
Listening
3+1
Rock and Roll pad
Old habits come in handy – familiar understanding
Houseconcert
Working nights and sleeping days
Musical Meisner
Vanda my dog
No loops
Alex on the floor hugging an accordian
Orange wood cables Dolphin
Rehearsals Boredom lack of ideas

Day 27 Charlotte

I am sitting in the sun in a balcony in Montemor-O-Novo thinking about the past five weeks. All and nothing rolled into one. So much talking. I need more time to digest some of the things that are being said. I feel more positive here than in London. Maybe it’s the sun. Maybe it’s the smaller group. Maybe its because last time I was here was with R and J. I thought I would cry much more than I have. I feel detached from all that now.
I am thinking a lot about presence and absence.
I think about letting go
I think about goodbyes.
We leave our lovers to be here.
Economical choices
It is easy not to connect in real time.
Plug in.
Drop out.
Wasted chances. It is better to know very little and judge even less.

V said the other day that it was strange how after 4 weeks together in London people hadn’t touched each other. Usually as dancers you might lean on each other a bit more. It felt insular there. Everyone for themselves.
No physical connections… Unusual for people skilled in using their bodies.

As Scott said - everything (everybody) is basically ok. But there is something in the air now. ‘Something emotionally ungainly’ was happening ion London.

I track my own mood.
I can only stay abstract for so long. I begin to fail and falter
I need clarification / form / structure / leadership.
Is that old fashioned? Nothing seems to take off without leadership.
Is that a lack of confidence?
Have I wasted time?
Have I used this time wisely?
I can’t tell for now. Ill have to wait and see.

Let’s wait and see. This was R’s mantra. I didn’t know what he meant then. I know more now. He has taught me valuable lesson.
I wish he’d stuck around to see my shift of understanding.

V says something about not wanting to dance. S and I have also said the same thing. Are we all at transition points?
I feel quite confused about how I feel about my instinct.

V says – J – you never make a fool out of yourself.
Am I am tiring of technique?

I am developing dyslexia in my writing and my thinking.

Omissions
Seeing up when its down
Stuttering
Halting phrases

Images of our R&D look like FE shows
I am thinking of FE and my marriage and my collaborations with R
I go to their website and have a poke about.
I avoid pictures of R – I try to abstract his face when I look at the site
Wendy’s practice maintains the FE influence in the room – a shared language of operation
Tim’s Questions
What gets lost in the telling / the dancing / the writing?
Genre dominating content - Pick a genre and lean into it – bash against its limits.
Tell a story
Do a show
Avoid drama
Clash between the context of here, now and the elsewhere of the fiction
Imagining and speculating theatrical possibilities
Possible transitions
Possible scenes
Possible images
Possible dances
I go to the Wooster Groups Website
What can I do with this dance thing once its broken?

How can I put it back together?

I go to Meg Stuart’s website

"Words I am not afraid of when we think about dance: emotions, excess, and narrative. My recent work charts the tension between dance and theatre, thought and action, remembering and forgetting. Scripts are written on our bodies that contain unfinished histories of others and ourselves. I try to expose the social choreographies that we play out daily and the sheer complexity one experiences when meeting another person. My work navigates the moments when language fails and gestures lose their meaning. I am fascinated by communication in all its perversions and through this the process of transformation has replaced distortion as the primary source of expression in my performances.' MEG STUART

I go to Hugo Glendinning’s website and look at beautiful pictures of his son sleeping.

I go To Wendy Houstoun’s website and hope she is doing ok in Edinburgh.

I go to bed.

Saturday after a walk in the rain
We saw a horse in a field with its front legs tied together.
It could only stutter forwards with a hop – like an out of context circus trick.

Liz’s comment comes to mind again – we will always end up with the same aesthetic and form if we work to expose the constructs of the thing we are making as we show it. If we remove the fiction of theatrical staging we seem to end up with

Introducing yourself as you before the event
Microphones
Black
Metal frameworks
Platforms
Trestle tables or something similar
Chairs
Jumble sale clothes
Women with good cheek bones
Exposed light bulbs
Exposed cables
Understated voices
Cardboard signs
Deadpan delivery
Chalk writing
Electrical tape lines on the floor
Apologies

What now then?

Janusz

Am I able to switch off totally and not question everything every time?
Do I get frustrated when something is not working for me?
Can I just let myself go and not judge every action I am taking?
Why is it always so difficult to make the first step?
Why the “difficult” happens to be “more difficult”?
Why does failure becomes meaningful?
Is perfectionism always something to rely on?
Why words cannot become steps?
Why a simple thought cannot be explained?
Am I daft and deaf?
Do I get what I want from myself?
Should I look right, left or just in one direction?
What are the directions?
Am I enjoying myself or just pretending to?
Why do I always need reassurance?
Where is my comfort zone?
Am I embellishing everything thinking I‘m not?
Why does narrative becomes so important?
Why does movement does not bring what I want?
Why is stillness and silence so fucking entertaining for masses?
Where is the point where I can’t see any?
Do I remember right that I am made of flesh and blood?
Why if I’m lost I let myself get lost even more?
Why does personal becomes an art?
Why do I hear music different to others?
Am I counting right?
Would it be ok not to always talk when I don’t feel like it?
Is my opinion valuable?
Why am I not getting a joy from dancing?
Why is nothing often something?
Why all these questions?

Alex Requiem

A requiem
For my grandma
For sudan
For palestina
For northern ireland
For the basque country
For my roots
For my anger
For my ignorance
For rotten peaches
For bread crumbs
4 2 3
For unruly kids
For cayo
For my next project
For old habits
For rwanda
For new orleans
For peru
For ray tico
For my memories
For formality
For political correctness
For posterity
4 2 4
For palindromes
For oracles
For manifestos
For digressions
For form
For equilibrium
For c sharp
For technique
For malcolm x
For the fucking bananas
For fish bones
For relativity
4 2 2


For truth
For intention
For honesty
For valentina’s neighbour
For alison’s kid
For the setting sun
For spare change
For ipods
For live human interaction
For the “I”
For the arts council
For wendy’s microphone
4 2 8
For rock and roll
For peer pressure
For dysmusia
For being funny
For remembering how to forget
For the new
For ambient sonic environments
For organizing
For molecular displacement through bowel movement
For my god
For confusion
For menstrual blood stains
4 2 1
For democratic art
For technology
For documentation
For role playing
For earnestness
For time keeping
For porco
For rabbits
For godard
For yoga
For split milk
For the fucking water bottles
4 2 5

For too much deodorant
For fucked up exs
For cris cunnigham
For g minor
For the australian aborigines
For iraq
For the kursk victims
For mingus
For freedom
For I think there’s something there…
For Mozart
For tasks
4 2 6
For big brother
For big kebabs
For the “you”
For Jackie and Freddie
For taste
For luck
For luck
For choice
For choice
For meisner technique
For outcome
For a product
4 4 4
For relationship management
For seeing
For hearing
For feeling
For multi-tasking
For anticipating
For expectations
For guide dogs
For me
For space
For limitations
For post modern theatre
For the internet

Darren after 4 days

After 4 days of being in and out of the studio. My ideas have sifted yet again. We were asked to look into doing a solo based around something that interestresed us. Janzus looked at silent dancer. Puses, Val came up with a graphic noteation and I looked at a one man show that centred around doing 5 carbert stlye acts, reading a dance, chair trick, singing a list of things I could do for you, a Fosse number and telling a joke. The chat we had after the prestion of these ideas was interesting in looking at what I had done and how you can fall into safe roles. Being the funny guy, texted based and less dancy. So now that i'm aware of this I want to maybe move away and try and creat a dance solo, not be so funny. Just to see if I could do it.
We all so looked at me dicrebing a dance while Alex played and some one danced it. There was something interesting in watch the filtering process of every one envoled. My dyslexa has all so been looked at. After reading various writing about the symptoms of the diabilty we choose words that we could transpose on to a pharse words like omit, resvese, backwards, up side down, although i'm ot really sure what this looked like as a way a creating differtn version on exciting movment. Weve all so looked at creating rthmyms which is something hard for me to do. I seem to have my onw rhythm but learning someone else is diffcult. So I think I want to look at creating some kind of spoken dylexia dance that some one else will filter it though there body and alex could filter it though his instrment. I'm still intereseted in talking to an audince and feeding them information.

Dyslexia Notes

Darren has Dyslexia, a type of reading disability usually manifested as a difficulty with written language, particularly with reading and spelling.

A person diagnosed with dyslexia is called a dyslexic; and a dyslexic by definition has adequate intelligence. Evidence suggests that it is a result of a difference in how the brain processes written and/or verbal language. It is separate and distinct from reading difficulties resulting from other causes, such as deficiencies in intelligence, non-neurological deficiency with vision or hearing, or from poor or inadequate reading instruction.
Dyslexia is most commonly characterized by difficulties with learning how to decode at the word level, to spell, and to read accurately and fluently. Dyslexic individuals often have difficulty "breaking the code" of sound-letter association (the alphabetic principle), and they may also reverse or transpose letters when writing or confuse letters such as b, d, p, q, especially in childhood. However, dyslexia is not a visual problem that involves reading letters or words backwards or upside down, nor are such reversals a defining characteristic of dyslexia.
Many individuals with dyslexic symptoms involving reading, writing, and spelling also exhibit symptoms in other domains such as poor short-term memory skills, poor personal organizational skills, problems processing spoken language, left-right confusion, difficulties with numeracy or arithmetic, and issues with balance and co-ordination.
Evidence that dyslexia is a neurological syndrome is substantial. Research also suggests an association with biochemical and genetic markers. Although there is no cure for dyslexia, appropriate remedial treatment and compensatory strategies can mitigate its effects.

Early stuttering or cluttering can also be warning signs of dyslexia
congenital word blindness
twisted signs'
poor spelling and decoding abilities
sequencing

Cluttering is a speech fluency disorder involving both the rate and rhythm of speech, and resulting in impaired speech intelligibility. Speech is erratic and dysrhythmic, consulting of rapid and jerky spurts that usually involve faulty phrasing. The personality of the clutterer bears striking resemblance to the personalities of those with learning disabilities.[33]

Individuals with dyslexia:
May be bright, intelligent and articulate, however their reading, writing and spelling level is below their average age group.
Have the same intelligence range as people without dyslexia.
May have poor academic achievement due to their problems with reading and writing.
May have good oral language abilities but will perform much more poorly on similar written-language tests.
Might be labelled lazy, dumb, careless, immature, "not trying hard enough," or as having a "behavior problem."
Because dyslexia primarily affects reading while sparing other intellectual abilities, affected individuals might be categorised as not "behind enough" or "bad enough" to receive additional help in a school setting.
Might feel dumb and have poor self-esteem, and might be easily frustrated and emotional about school reading or testing.
Might try to hide their reading weaknesses with ingenious compensatory "strategies".
Might learn best through hands-on experience, demonstrations, experimentation, observation, and visual aids.
Can show talents in other areas such as art, drama, music, sports, mechanics, story-telling, sales, business, designing, building, or engineering.
Have related problems with attention in a school setting; for instance they might seem to "zone out" or daydream often; get lost easily or lose track of time; and have difficulty sustaining attention.

Many dyslexics also can have problems with speaking clearly. They can mix up sounds in multi-syllabic words (ex: aminal for animal, bisghetti for spaghetti, hekalopter for helicopter, hangaberg for hamburger, mazageen for magazine, etc.) They also can have problems speaking in full sentences. They can have trouble correctly articulating R's and L's as well as M's and N's. They often have "immature" speech. They may still be saying "wed and gween" instead of "red and green" in second or third grade. Many dyslexics might have speech therapy in special education. They may have fast speech, cluttered speech, or hesitant speech[50][51].
Some shared symptoms of the speech/hearing deficits and dyslexia:
Confusion with before/after, right/left, and so on
Difficulty learning the alphabet
Difficulty with word retrieval or naming problems
Difficulty identifying or generating rhyming words, or counting syllables in words (phonological awareness)
Difficulty with hearing and manipulating sounds in words (phonemic awareness)
Difficulty distinguishing different sounds in words (auditory discrimination)
Difficulty in learning the sounds of letters
Difficulty associating individual words with their correct meanings
Confusion with combinations of words
Due to fear of speaking incorrectly, some children become withdrawn and shy or become bullies out of their inability to understand the social cues in their environment

Reading and spelling
Spelling errors — Because of difficulty learning letter-sound correspondences, individuals with dyslexia might tend to misspell words, or leave vowels out of words (e.g., spelling "magic" as mjc).
Letter order - Dyslexics may also reverse the order of two letters especially when the final, incorrect, word looks similar to the intended word (e.g., spelling "dose" instead of "does").
Highly phoneticized spelling - Dyslexics also commonly spell words inconsistently, but in a highly phonetic form such as writing "shud" for "should". Dyslexic individuals also typically have difficulty distinguishing among homophones such as "their" and "there".
Reading — Due to dyslexics' excellent long term memory, young students tend to memorize beginning readers, but are unable to read individual words or phrases.
Vocabulary - Having a small vocabulary.

Writing and motor skills
Because of literacy problems, an individual with dyslexia may have difficulty with handwriting. This can involve slower writing speed than average or poor handwriting characterised by irregularly formed letters. They may use inappropriate words when writing.
Some studies have also reported gross motor difficulties in dyslexia, including motor skills disorder. This difficulty is indicated by clumsiness and poor coordination. The relationship between motor skills and reading difficulties is poorly understood but could be linked to the role of the cerebellum and inner ear in the development of reading and motor abilities.[52]

Good at "hands-on" learning, they seem almost intuitive at figuring out how to do things.
Delay in learning how to tie shoes.
They can utilize the brain's ability to alter and create perceptions.
Highly aware of their environment but seem to be lost
Curious about how things work
Highly intuitive and insightful
They have vivid imaginations
Seems intelligent but reads slow
Uses analogies to talk and explain things.
under stress.
Difficulty sequencing days of week, months of year.
Develops negative, emotional, behavior due to academic performance.
Family blood relatives who also experienced difficulty in acquiring text skills.
Strong graphical skills.
Outstanding building of toy blocks, coloring or drawing.
Outstanding view of the "big picture".
Views the world from different eyes or point of view.
Able to fix/tear apart thing at an early age.
Wants to know how things work and can understand them.
Builds things or invents things
Creative
Left/Right confusions
Slow reader or learning to talk
The word "cat" written on a chalkboard can be perceived in 40 different ways by a dyslexic - with the letters reversed, upside down and sideways. Even though a dyslexic mind works faster than average, sorting though all those mental images to find the correct one makes him appear slow.
Dyslexics are also known for creativity, musical ability and mechanical ability.
Doesn't always understands what is said to them
Loses reading place
Mixing the order of letters/ numbers
Difficulty finding appropriate words
Dyslexia is the ability to see a thing from many points of view, all at once. The primary problem for the dyslexic is that he is capable of processing so much information that it gets garbled, distorted or frozen. There is so much input that, if not filtered what begins as a special, insightful talent, is reduced to a tragic mass of confusion and disability.
Difficulty organizing ideas to write a letter
Messy room, desk, locker or note book
Difficulty expressing oneself
Slow learning the alphabet
Transposes names of people or places
Hesitant in speech
Low self-esteem due to past frustrations.
Makes up a story, based on the illustrations, which bears no relation to the text.
Reads very slowly and hesitantly.
Loses orientation on a line or page while reading, missing lines or reading previously-read lines again.
Reads aloud hesitantly, word by word, monotonously.
Tries to sound the letters of the word, but is then unable to say the correct word. For example, sounds the letters ‘c-a-t’ but then says cold.
Mispronounces words, or puts stress on the wrong syllables.
Reads only in the present tense although the text is in the past.
Foreshortens words, for example ‘portion’ for proportion.
Substitutes another word of similar meaning, for example dog for pup.

Omits prefixes, omits suffixes or adds suffixes.
Reads with poor comprehension, due to spending so much energy trying to read the words.
Remembers little of what he reads.
Spells words as they sound, for example ‘rite’ for right.
Cannot write or match the appropriate letter when given the sound.
Often ignores punctuation. He may omit full stops or commas and fail to see the need for capital letters.
Poor at copying from the board.
Has trouble attaching names to things and people.

Dyslexia Signs: Sequencing Difficulties
Many dyslexics have trouble with sequencing, i.e. perceiving something in sequence and also remembering the sequence. Naturally this will affect their ability to read and spell correctly. After all, every word consists of letters in a specific sequence. In order to read one has to perceive the letters in sequence, and also remember what word is represented by the sequence of letters in question. By simply changing the sequence of the letters in name, it can become mean or amen.
Directional confusion may take a number of forms, from being uncertain of which is left and right to being unable to read a map accurately, says Dr. Beve Hornsby in her book Overcoming Dyslexia. ‘A child should know his left and right by the age of five, and be able to distinguish someone else’s by the age of seven. Directional confusion affects other concepts such as up and down, top and bottom, compass directions, keeping one’s place when playing games, being able to copy the gym teacher’s movements when he is facing you, and so on. As many as eight out of ten severely dyslexic children have directional confusion. bThe percentage is lower for those with a mild condition,’ she says.

She might see some letters as backwards or upside down;
She might see text appearing to jump around on a page;
She might not be able to tell the difference between letters that look similar in shape such as o and e and c ;
She might not be able to tell the difference between letters that have similar shape but different orientation, such as b and p and d and q ;
The letters might look all jumbled up and out of order;
The letters and words might look all bunched together;
The letters of some words might appear completely backwards, such as the word bird looking like drib ;
The letters and words might look o.k., but the dyslexic person might get a severe headache or feel sick to her stomach every time she tries to read;
She might see the letters o.k., but not be able to sound out words -- that is, not be able to connect the letters to the sounds they make and understand them;
She might be able to connect the letters and sound out words, but not recognize words she has seen before, no matter how many times she has seen them -- each time she would have to start fresh;
She might be able to read the words o.k. but not be able to make sense of or remember what she reads, so that she finds herself coming back to read the same passage over and over again.

Excellent long-term memory for experiences, locations, and faces.
Poor memory for sequences, facts and information that has not been experienced.
Thinks primarily with images and feeling, not sounds or words (little internal dialogue).
Extremely disorderly or compulsively orderly.
Can be class clown, trouble-maker, or too quiet.
Had unusually early or late developmental stages (talking, crawling, walking, tying shoes).
Prone to ear infections; sensitive to foods, additives, and chemical products.
Can be an extra deep or light sleeper; bedwetting beyond appropriate age.
Unusually high or low tolerance for pain.
Strong sense of justice; emotionally sensitive; strives for perfection.
Mistakes and symptoms increase dramatically with confusion, time pressure, emotional stress, or poor health.

Darren wants to sweat

First Day in Portugal


Looking back over the motherland blog and reflecting on thoughts of the past 4 weeks or 20 days of R&D


Something about-
Exposing the chooses we make whilst in the act of the dance/performance

Making my own solo

Making a solo on Alex

Finding the starting point, finding the finishing point

Staying in the pusses

Finding the silence

Being in the performance/ no re-enacting

(Count 25)

The memory of who was here, and who is here now

What is my identity?

Finding inspiration in others

Structure/simplicity

The audience reacts (physically?) to what the dancers body is going though

Logging what’s just happened, like the fragments that are left in your memory after you’ve seen a performance

Capturing the moment









I would like to look at what is the best way of capturing the perfect moment, how would you create that perfect moment. Taking in the surrounding, the space, the dances you know, the aesthetics you like Creating some kind of photo album, some type of story, a kind of documenting, some kind of film, some kind of performance, a piece of music or dance.

I would like to spend some time on devising my own solo. I want to take the time and spend it creating something that said something about me. Who I am.

I want to make a solo on Alex to see if I can create something that will look like I have created it.

I want to make, be part of a process whether it be in the form of dance, editing, assisting the leader,

I want to teach Val how to use her laptop

I want to be inspired by the amazing surroundings

I want to sweat

Pauses and Rests CV

An interjection is a part of speech that usually has no grammatical connection to the rest of the sentence and simply expresses emotion on the part of the speaker, although most interjections have clear definitions. Filled pause such as uh, er, um, are also considered interjections. Interjections are generally uninflected function words and have sometimes been seen as sentence-words, since they can replace or be replaced by a whole sentence (they are holophrastic). Sometimes, however, interjections combine with other words to form sentences, but not with finite verbs.
Interjections are used when the speaker encounters events that cause these emotions — unexpectedly, painfully, surprisingly or in many other sudden ways. But several languages have interjections that cannot be related to emotions.
The word "interjection" literally means "thrown in between" from the Latin inter ("between") and iacere ("throw").
A rest is an interval of silence in a piece of music, marked by a sign indicating the length of the pause. Each rest symbol corresponds with a particular note value:longa (or four-measure rest)
double whole rest / breve rest
whole rest / semibreve rest
half rest / minim rest
quarter rest / crotchet rest
eighth rest / quaver rest
sixteenth rest / semiquaver rest
thirty-second rest / demisemiquaver rest
sixty-fourth rest / hemidemisemiquaver rest

The combination of rests used to mark a pause follows the same rules as for notes

Multiple measure rests
In instrumental parts, rests of more than one measure in the same meter and key may be indicated with a multiple measure rest, showing the number of measures of rest, as shown. Multiple measure rests of variable duration are usually drawn in one of two ways: either as long, thick horizontal lines placed on the middle line of the staff, with serifs at either end, or as thick diagonal lines placed between the second and fourth lines of the staff. They denote a silence several times the duration of a whole rest.
The number of whole rest lengths for which the multiple measure rest lasts is indicated by a number printed above the musical staff (usually at the same size as the numerals in a time signature). Where the silence is for less than eight whole rest lengths, some publishers use a combination of four measure rests, double whole rests and whole rests to graphically indicate the extent of the rest. This serves as a counting aid and derives from 19th-century notation conventions. If a meter or key change occurs during a multiple-measure rest, the rest must be broken up as required for clarity, with the change of key and/or meter indicated between the rests. This also applies in the case of a double-barline, which demarcates musical phrases or sections (a tacet instrumental part to a song may contain a sequence of multiple eight-measure rests, for instance).
The four measure rest or longa rest is a symbol found in Western musical notation denoting a silence four times the duration of a whole rest. They are only used in long silent passages which are not divided into bars.
Four-measure rests are drawn as filled-in rectangles occupying the whole space between the second and fourth lines from the top of the musical staff.
Dotted rests
A rest may also have a dot after it, increasing its duration by half, but this is less commonly used than with notes, except occasionally in modern music notated in compound meters such as 6/8 or 12/8. In these meters the long-standing convention has been to indicate one beat of rest as a quarter rest followed by an eighth rest (equivalent to three eighths).
Double-dotted rests, while theoretically acceptable, rarely appear in printed music, due to notational conventions and a concern for clarity.

In music, the symbols instructing players to be silent are rests. More substantial silences, lasting several seconds, occasionally appear in musical works. There are a very few examples of completely silent musical works; the most famous example is John Cage's composition 4'33", which consists of four minutes and thirty-three seconds of apparent silence, although the composer's intent was to draw in to the piece all the random indeterminate sounds of the audience and their environment. Cage had this to say about silence: "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music."

In debate
Argumentative silence is the rhetorical practice of saying nothing when an opponent in a debate would expect something to be said. Poorly executed, it can be very offensive, like refusing to answer a direct question. However, well-timed silence can completely throw an opponent and give the debater the upper hand.
An argument from silence (Latin: argumentum ex silentio) is an argument based on the assumption that someone's silence on a matter suggests ("proves" when a logical fallacy) that person's ignorance of the matter. In general, ex silentio refers to the claim that the absence of something demonstrates the proof of a proposition.

Darren (dyslexic spelling intact)

Theatrical failure

This one time I was performing for a massive audience. At least 2000. Queensland performing arts complex. Befor the lights went up on the stage I would have to come to the very front of the stage and pick up a microphone. So during this black out as I knelt down I lost my balance in the drak. I feel in to the front row of the audience and I had to sramble back up to the stage in the dark. And be ready for the track to come one. I was singing a song from A chours line called ‘let me dance for you’. The track started and the 1st note I sang was out of key and to be honest i'm pretty tone deaf to being with. After the song It would go into a intrumental version of the song and I would do a tap dance. All ready feeling like I wanted this number to be over I started do the tap routine. And about 2/3rds of the way though I felt the ball of my tap show come lose. Its held on to the show by 3 screws and I had lost two of them. So the metal tap was swing around. I missed a few beats and than towards the end I competly came off and I was left with no ball tap and having to bang my foot quiet hard. I stuck my finshing poes and barley pulled of the double turn. I bowed and left the stage. Than the cassetate they were playing the music form coutnited to play and an older track came on over the sounds sytem which is very tacky. All in all it was a teribale performance.

Darren - Dancer as prostitute

I could dance for you
I could make you laugh
I could make you feel better
I could be your best friend
I could do a ballet solo
I could do a one-man play
I could sing you a song
I could read from your favourite book
I could be your personal shopper
I could suck your toes
I could cook dinner for you
I could make love to you
I could do a puppet show for you
I could be your shoulder to cry on
I could do an aboriginal dreamtime dance
I could fuck your brains out
I could do a washing
I could make you forget about your past
I could do a German folk dance for you
I could take you to the moon
I could give you a massage
I could scratch your back
I could peel your fruit
I could hold you all night
I could marry you
I could recite Shakespeare for you
I could play any instrument for you
I could speak in French
I could wipe your ass
I could cook for you
I could clean you
I could pay your bills
I could wear anything you wanted
I could wear nothing at all
I could feed you grapes
I could do be your personal assistant
I could take you to places you’ve never been
I could do a contempory dance for you
I could make you tea
I could help you understand technology
I could do a tap dance for you
I could love you
I could do magic tricks
I could let you put it anywhere
I could whistle a song for you

Saturday, 25 August 2007

Janusz Day 23

Old monastery, castle and its ruins, dry land, hot sun, clear blue sky, little breeze, stunningly beautiful surroundings, morning wake up call from a very loud rooster. I see only one colour around me. Something between orange and red but it is not brown. I think that colour describes that particular place and its magic. Portugal, Montemor-O-Novo, Espaco do Tempo. Day 1 (21st in order)

We arrived yesterday, I flew from Poznan, the others (Charlotte, Valentina, Alex and Darren) from London. Since I left London couple of weeks ago I wanted to know what was happening in the time I was away. With printed version of the whole blog I sat on a plane and start reading. I like it when writing is so condensed and detailed. Did not meet Liz or Ellen but seems like you can get to know who they are just by writing. Fascinating!

One thing drew my interest which was a task where everyone was asked to enter the space at 10am and there is no verbal leader. No talking just an activity, anything but without words. In a way I am still interested in stillness in dance. How to move when you are not moving. Is there movement in stillness? Or maybe, how to create a solo dance, a duet, a trio or a whole dance piece where nobody gives any instructions, where artists are not talking while putting steps together. What would come out of it? How this dance will look like?

Portugal Day 23 Charlotte

MONTEMOR O NOVO

Convent of Salutation 16th to 19th century, considered to be the monument of greatest artistic value in the town and its environs. If you visit the convent, curently the object of restoration work, take a look at the Portaria (entrance hall), clad in tiles dating from 1651, and at the Claustros (cloisters). Pass through the arch into the garden where you will find the church of St. James (Igreja de Santiago), the Torre da Má Hora or de Menagem (literally translated, Tower of the bad hour, or the Keep) and the Porta do Sol (gateway of the sun)…..

Monday morning spent rearranging a new space.
Throwing ut the fag butts of the last group pf artists who Rui hosted here
Remnants of their work in the space
Cleaned away much like the chalk marks in London that the technicians had worried about when the cleaners washed our work away at The Place.
I havent had a moment to think in the five days I have been in SHheffield

Office meetings
Sorting out a broken down car
Recycling cooking talking
Board Meetings
Marketing Lunches
Catching up with friends and colleagues
No time to setle before 5 am back here - three years on since I last came, married with a husband and a stepson with me.
This is where I first met Alex and here we are again in the heat and the dust of Montemor. A different sense of time, place and purpose now.


Reflections of what happened in London. I am interested in applying some if the many things we talked about.

I would like to start leading again – find some new structures in what we are doing. Try to keep lab structure but be more specific in our investigations through generating and creating material – give ourselves something to look at and experiment with.

Return to some kind of roles that Alex, myself and the three performers (Valentina, Janusz and Darren) have established skills around – composing, directing, performing.

Free up the personal – investigate what you as three performers bring to the space. Let exterior be manifestation of interior space. Work solo for first few days.

Present /perform/collect ideas andwitness/scrutinise them closely.

Not talking as much. More doing.

What has stayed with you from the past four (DA/VF) / three (AC)/ one (JO) weeks ? Where are you now?

Val
• Composition
• Self-portrait
• Interpretation and Translation
• Single image - Graphic Notation
• One woman band
• Participating with the music. My desire to make sound.

Idea of graphic notation. Think of using my self portrait and make a graphic than interpret it in movement. Not to use any instrument, make the sound with objects or moving.

After further discussion
Apply GRAPHIC NOTATION to a photo of her own face – make a graphic score (www.blockmuseum.northwestern.edu/picturesofmusic) and then play / dance it .

Darren
• Exposing the chooses we make whilst in the act of the dance/performance
• Making my own solo
• Making a solo on Alex
• Finding the starting point, finding the finishing point
• Staying in the pauses
• Finding the silence
• Being in the performance/ no re-enacting, (Count 25)
• The memory of who was here, and who is here now
• What is my identity?
• Finding inspiration in others
• Structure/simplicity
• The audience reacts (physically?) to what the dancers body is going though, Logging what’s just happened, like the fragments that are left in your memory after you’ve seen a performance.
• Capturing the moment

After further discussion
In describing a one man show he uses the language of a lapdancer / prostitute –
I could get to know you
I coul dance for you
I could serve your needs
Ill do anything you want
Talks about having a box of tricks to choose from – audience choice from a menu of acts /jokes /dances to show. We talk about building up expectations and understated language – dancer as prostitute, acts of failure

Janusz
• Stillness
• Silence
• How to create something without talking
• How to move when you’re not moving

I've read the bog and the 2 hour silence task caught my attention.
A soundtrack to work with the task to create the music first then create the movement.

After further discussion
What is still moving in a pause or a stillness. Masures of time.What sounds are still present in a silence? How to measure stillness? How to verbally capture it? How to visually present it – does it need the counterpoint of movement?

Alex
• I would like to facilitate all those.
• I'm happy to try and help musicalize the performers

After further discussion
Three ideas
A Dysfunctional Requiem
A piece of developmental dysmusia (musical dyslexia) music
A last composition that marks key moments in his musical career to date- if you had one last piece of music in you to come out, what would it be? What would it sound like?

CV
Reminder of what Liz said - everything she does is a performance.
Go back to the solo idea I described on the first day of this r&d
Working in simple measures

The themes that have come out of the past 4 weeks for me – may seem too large and vague but we can work specifically with practically applying / investigating some of them in a solo form.

Memory
• interior spaces, remembering, capturing, resonance
• repetition and how to achieve divergence through repetition?

Tense
• past / present / future
• act of logging, marking, looping, relativity
• technical ways of measuring and capturing time

Pauses
How to mark pauses/ delay / cadences
• Grading
• singular images
• Liz’s 10 frames
• shades of experience
• space between words

Translation
Sliding in between forms
Finding the content in the form
Finding Analogues
• Music into text
• Text into music
• Music into movement,
• Movement into music
• Movement to text
• Text to movement

Text
• Continuous writing
• Wendy / Adrian’s exercise in music/dance form?
• Logging
• Documenting
How to write? How to move away from generating a text-based procedure ?

Last Dance / A Requiem
Go back to the thing about the last dance. If you had one more piee o music – one more dance in you = hat form would it take?


Aim of the 2 weeks to generate material- as Liz would say- Everything counts in what we present to each other.

Lets try stuff and if something is happening pursue it and if not scrap it
Really keep digging into your own practice

SOLO INDICATION

Start at the beginning. Informed by Liz’s approach

What singular memory or emotional location do you want to work with?

Where would you place yourself – boundary the space, feel the edges of the space. How in this environment (Espaco do Tempo) would you choose a frame for yourself? Work with the limitations of that space or frame (trust your instinct)

What would this mini production look like in your head?

What would you include in it (be really specific)

What would you leave out?

What would be a good start for this solo (you will know when something starts to work)

Where does the impetus for movement come from? (there may be very little movement - everything must count)

Act on your opinion, be inventive and remove the anxiety around what you are doing

How will you compose your senses to make something?

INTENTION
Phase two – once we have something formed to play with - what is the question now?

1 How could we loop this
2 How could we achieve divergence with it through repetition
3 What is its text analogue
4 What is its music analogue?
5 Reframe it in a different location/ what is its relation to the space?
6 If it is performed with the others in duo / trio form what happens to the material?
7 If you reduce it ot a single image what would that be?
8 If you interrupt the pausing structure within it or add silent beats – what happens to it?
9 If you make explicit the choice making within what you present to the witnesses how does that affect the work?
10 What happens if we log the presentation?

Music Maestro 2 - CV

What has stayed with us from th last 4 weeks
What can we translate into music/sound from these events
What sounds have stayed with us?

Scott singularity of image and simultaneous event indication
Translation as a theme
Requiem - a Holy Mass; A Whole Mess
7movements - formal structure - a reason for producing sound
Instrument as object with certain asssociations and connotations

AC - Why is the work becoming so text based ?

CV - Things I enjoyed were the moments where text as CONTENT mattered - eg: casting text (star performers etc) / architecture o theatre as content / the mini disc imrprovisation with Scott directing with 'Sustain' and 'Reduce' etc and me DJ'ing withthe minidisc / Wendy's Theatrical Failures text with Alex PK and Scott playing

AC- There are 3 / possibly 4 ways to work with music - GO WITH IT / GO AGAINST IT / GO PARALLEL TO IT / IGNORE IT
How can we generate a non language based proceedure? I want to musicalise the performers more

Questions of opinion and taste
The first thing you do is fake it to find out about it...
Phraseology
Cadence
Symphony

AC - MUSIC IS SOUND PRODUCED TO BE HEARD
AC - Things I am interested in -
Feedback thing
How controlled are musical mistakes
Silent Moving
How to sonically plot a scene
Sonic Chinese whispers - removing the visual information

PK - Things I am interested in - DISSONANCE (see garageband file) in A minor and MULTIPLE CALCULATIONS with a sliding timescale

CV - Can we achieve divergance through repetition?
What constitutes a simgle image in musical terms - a note? a phrase? a harmonic?
Phasing and measuring time
Is a Transition in choreographic termslike a Bridge in musical terms?
Apply the Meisner Technique to music
Delay and Pauses
How to stay in the present - develop a consciousness of the tense.
















Music Maestro

Two days of music exploration in my house in Sheffield
7 days of Alex in my house



Saturday, 18 August 2007

Wendy Rules of Rest Version 3

Language.


The persistence,
The sheer persistence- working it all out, , framing it all up ,
underpinning your hard earned pause with a new heard quiet.

Flirty language – coming up with stuff like Yours and Mine and I and You and all that pluralized WE cohering all over us.
Bring on more of those slicing words with their High Definition , Look at That Why Don’t You fancy footwork tautology.
and All those would if I could explanations- umming and erring through the day,
headbutting the muddle til it hurts.

Some non slip anaylsis here, some cheer up opinion there and a quick flash of build me up banter to move it all along.
And some of that
We Just Went Down the caff and cooked ourselves up a whole new set of chances with words like Courage and Gather and Trust and Mexican Radio dropped in and out like a dictionary on heat.

Break up the Quiet. Inject the silence.
Those doubt ridden words start wobbling in with their cared for curiosity and pared down passion making the most of all those half heard thoughts and half baked songs that have been queing up for airtime, waiting their turn for the chance to alter the air.

Those slowly fermenting syllables finally coming out with their”This is the Nearest I can get for now, is it helping or should I really shut up? it does seem hard to know whether being here at all is of any use but I’m going to say it anyway because somehow it seems important just to make an offer of who I am and what seems important and maybe just to hear how this sounds will be part of how to start finding out”
It used to be just
( count 15)
Staring, Vagueness, Displacement and Growling,
But first it’s a little bit of “ Yeah that’s possible …” here and a little bit of “ I don’t know, maybe perhaps …… ” there and before you know it its:

I had to join the dots to make it work.
Or
I can only consider.
Or
I so not wanted to be there in the middle of the space.
and why? Why?
you were and I don’t know, maybe I don’t know I can’t remember and I can guess. And you chose and again its retrospective and I think that I didn’t think beyond that and its interesting . I surprised myself and I liked and I liked and I’m not phased .
Do it to death till you die and what you said
, “ single minded and clear choices “,

and I was drawn to it and if I’ve learnt nothing else I think I know I am –and as I/m thinking I/m constructing and I/m kind of pushing - I/m pushing it .

And we don’t know , we can only guess and suggest and we only know from texts and words
and I feel so lost .
I couldn’t find the space and I guess I was asking for me, and I thought I was thinking “ why and I/m not ? “
and I am trying to have something so far away from me ,
and I ,and I am curious to know more what is happening when we do this and
I’m struggling and--- I don’t know, I don’t know and this is who I am .
And I enjoy and I just want to be and I gather and I like that and that’s how I’ve been taught and I think my main question is :
And
If you know what your identity is - I could tell you and.
I think my main question is this …
I came and looked and I said I’m going to start getting ready and when can I start doing what I want to again and where I can be free ?
And also
I came, I saw and logged and I tried not to be and maybe my better question is :
Could you and what is the nature?
I am so accepting and are you looking for a name I wonder. My question is :

Everywhere people do this and there you go.
And I came in ,with an expectation, and I was ready to throttle.
I put myself in and I think there’s a……… I think there’s very practical reasons and you always have to produce something and I find this extraordinary . I would like more of this and can I ask you why.
And I loved and enjoyed and I finally woke up and wanted to try and make myself .
or
I would see people and when I looked around and you weren’t blank and I was really fighting an urge and I want to ask is there anything practical or I am still exploring ?
I stood up and I felt perfectly fine there., I felt like myself and I am feeling
And I think I heard something and because its so everywhere .
I thought it was all about and then I found it was and I realised what should I do.

And I don’t know the attempts and the needs and something like this:
lets say I believe and I just have a belief and if I watch and check out my very own , my very own and things like that and do find myself in- will find myself in trusting and maybe I can get across and I am just trying to get through and I’m, I’m a bit……………..
and all of that I think and I wonder and I think and I think and I think and think and how can you tell?
and I thought and I thought and I thought I miss that.
You have to be you
and sometimes I found it and didn’t disturb it.
And. I was writing and I thought , once you start- just kept on going and I thought I can’t go and I held on and paused everybody .


and you know I kind of feel what’s the worse that can happen?
Would I be dead ? Would I be injured?
and I enjoyed just following that and then at some point I turned round and saw you and I started crying a bit and I just decided I would just take a moment and I think I realised I kind of was holding and I hadn’t seen that and ermm ermm ……………..
and I don’t know what to say really.
and I nearly had you and I just wanted to try it and wanted to and also didn’t and I had a moment and you stopped me in my track and for me,
you don’t start dancing with me if you’re not going to finish it”

“I’m quite glad I’m not what I think”

and
my writing and your lighting and I’m listening to desires and can I and why don’t we? and I’m cured and

hallelujah and hallelujah

and we all are and we live in the world and I think we all are and I mean it , no I mean it more and we started to notice and you became and I gave myself and found out that I uttered a few words I didn’t speak today .

Liz Lerman - A reminder

Toward a Process for Critical Response

by Liz Lerman

The artists of Alternate ROOTS (Regional Organization of Theaters/Artists South) find critical response a vitally necessary tool in creating their own individual works and in community residencies. After years of discussion with fellow artists, choreographer Liz Lerman devised a method that is being used with great success by collaborators, workshop leaders and teachers in several parts of the country. Here, reprinted in part from the ROOTS newsletter, is an early description of Lerman's critical method. —Eds.

Several years ago, I finally acknowledged to myself how uncomfortable I was around most aspects of criticism. I had been involved in the process of creating art, seeing art and teaching art-making for a very long time, but I had not found peace with my many questions, and with the array of feelings brought up by both giving and receiving criticism. I found so-called "feed-back sessions" to be often brutal and frequently not very helpful. I couldn't seem to solve my needs during post-performance rituals of backstage chatter: I had trouble getting it, and I had trouble giving it. I became uncomfortable at other people's concerts where much of my experience of the evening included a subtext of internal complaining about what I was seeing. I began to dislike residency activities where, without knowing anything about the dancers I was meeting, I was being asked to comment on their work. I even began to question the basic premises underlying my composition teaching because I was troubled about the nature of my response to the work being created by my students. I had plenty to say. That wasn't the problem. But I kept wondering why I was saying it.

This much was clear to me. The more I worked as a choreographer, the fewer people I trusted to tell me about my work, since much of what I received in the form of criticism from others seemed to tell me more about their biases and expectations than about the particular dance of mine being discussed. It didn't seem to me to really be about helping me to make the best dance I could from my own imagination. At the same time, it seemed that the more I saw of other peoples' work, the more it became clear to me that what I criticized in their work was that it wasn't like mine. If I didn't see my own ideas confirmed in the work of others, I found myself being very critical—my critical comments told me more about myself than about the nature of the work I was seeing.

So, in the past few years I have been evolving a system of peer response. It is grounded first and foremost on my own experience as a choreographer. I discovered that the more I made public my own questions about the work, my work, the more eager I was to engage in a dialog about how to "fix" the problem. This process began unconsciously as a way of working with the dancers in my company, as a way of talking with my husband Jon Spelman in our extended conversations, and with a few choreographers/friends. I found that often, just talking about the messes that are an inevitable part of creating new work, talking about it out loud from my perspective, pointed a way out of the dilemma. I began to wonder what would happen if critical sessions were indeed in the control of the artist. I experimented with various approaches while teaching composition at the American Dance Festival and the Colorado Dance Festival. That is when I noticed that the more I gently questioned my students, the deeper we got into their own work. Its motivation and meaning to the creator became the basis on which feedback was given. I found that I could raise all of my concerns in this manner and, amazingly, there was no resistance.

There are several basic preconditions to all of this for both artist/creators and observers/responders. We creators need to be in a place where we can question our own work, and be able to do that in a somewhat public environment. We also need to be able to hear positive comments that are NOT "this is the greatest thing I have ever seen." I am convinced that since we all wait for that comment, we have a hard time hearing anything else. There are two preconditions for the observers. First, it is important that we want this artist to make excellent work. I think sometimes, for a host of reasons, people looking at work don't want the artist to succeed, especially on his or her own terms. So this notion of actively harnessing our responses to the idea of another person's excellence is not always achievable, but worth working towards. The second precondition is that the observer/responders need to be able to form their own opinions into a neutral question.

Although these sessions are geared to the needs of the creator, it is important to have a facilitator who will keep things moving, and keep people on track. One way the facilitator does this is to continue to fine-tune the process. In fact, I find if I tell people I am still working on its evolution (I am) and that I might get confused at times (I do) and that we may have to stop the action of responding to someone's work while we question the process (this has happened), all of this openness creates an environment where good critical thinking can take place.

Here's how it works. The day after a performance, a facilitator might gather with the artist and with a group of interested people to discuss what they have seen. Or it could take place directly after a showing, if the artist is ready. In composition classes, it can happen after each presentation, no matter how short, and indeed the whole process can take as short as five minutes (in the case of a fragment) or as long as people are willing to sit and talk.

Step One: Affirmation

It is my sense, that no matter how short the performance, people want to hear that what they have just completed has meaning to another human being. This natural condition appears to be so intense at times as to appear desperate. My own experience points to the very fragile moment when we first show another person our creative effort, whether a fragment or a completed work, new or old. It makes sense to me, then, that the first response takes the form of some kind of affirmation. (Remember, it is not going to be "that is the greatest thing ever," but it does need to be honest and true for the responder.) So I have been trying to expand the palette of what constitutes positive feedback. I like to use words such as "when you did such-and-such it was surprising, challenging, evocative, compelling, delightful, unique, touching, poignant, different for you, interesting," and many more.

I am aware that there are many people exploring the question of feedback; one way that folks are working a lot right now is for people to practice saying what they saw—with the idea that there is no positive or negative implied. I too have experimented with that approach, using it here in step one. However, I keep coming back to the need for positive, affirmative information. I suspect that people will challenge this as being too needy, too thin-skinned. But after all these years of doing work, and after many positive comments from others, it still makes sense to me that we tell each other at least one thing that we noticed about the work being discussed that brought us something special.

Step Two: Artist As Questioner

The creator asks the questions first. The more artists clarify what they are working on and where their own questions are, the more intense and deep the dialog becomes. These questions need to be quite specific. It doesn't work to say "tell me what you think" since in my experience people don't really mean that, and if we do tell them what we think, they get defensive. But if a person says, "Do you think my arm should be this way or this way?" or "I'm working right now on the way I express a strong feeling, what did you think of this section?" the respondents are given the opportunity to say exactly what they think in a way the creator is prepared to hear.

One of the jobs of the facilitator is to help artists find their questions. Some artists are quite able to analyze their work, and form their dissatisfactions or dilemmas into specific questions with ease. For others, it is a new experience. So an artist might pose a very general question, and the facilitator can help make it specific and find the real heart of the matter. But the artist needs to raise the subject first, and the facilitator needs to probe with more questions, not with answers.

Speaking anecdotally from what I myself have experienced, as the artist whose works being discussed and as a facilitator, it seems that usually the artist has the same questions that those watching do. When the artist starts the dialog, the opportunity for honesty increases.

Step Three: Responders Ask the Questions

The responders form their opinions into a neutral question. So instead of saying, "It's too long," a person might ask, "What were you trying to accomplish in the circle section?" or "Tell me what's the most important idea you want us to get and where is that happening in this piece?"

This is another area in which the facilitator needs to be active. For many people, forming a neutral question is not only difficult, but a seemingly ridiculous task if criticism is the point. I have discovered, though, that the actual process of trying to form opinions into neutral questions is precisely the process necessary to get to the questions that matter for the artist.

I know that for some people this sounds again like a cover-up for the real action and, for some, it is at first. But I have observed that after some experience of this approach, even the most hard edged, "I-can-take-anything-you-dish-out" artist is more open and involved in the critical session. And more open to the possibility of hearing what others are saying, and actually learning from it.

It's important to remember that this process is not telling an artist how to improve their work. Therefore this can be a difficult step for people who are used to giving feedback from a position of authority: teachers, directors, folks called in to "fix" a piece. (I don't know about critics. I haven't tried it with them yet.) For some it might seem like giving up the right to tell the truth very directly. What I have found for myself however, is that I can say whatever is important through this mechanism, and that what I can't say probably couldn't be heard, or isn't relevant.

Step Four: Opinion Time

Let's say that an observer really has an opinion that can't be stated as a neutral question and this person feels that the artist really needs to hear it. In step four the responder asks permission to state an opinion: "I have an opinion about the costumes. Do you want to hear it?" Now this artist may be very interested in hearing about the costumes, but not from that person, so he or she can say no—or yes—or no, not now but later.

I really think that most of our reactions to work, which we all try to formulate as mature criticism, are indeed merely opinion. There are times when artists can use these opinions to help place the work in a larger context. There are times when artists can hear all of these opinions and use them to weave his or her own solution. But artists may not want to hear from everyone, or everyone at that particular time. In this process, the artist can control this moment.

This is the one place in the process where people can actively offer suggestions. One simply says, "I have an opinion on a direction you could go in, would you like to hear it?" Again, the artist can say yes or no.

I have never been at a session where an artist hasn't been willing to hear from everyone. It is curious to note that often during this opinion time, people choose to do more affirmation. Usually by this time, so much has been discussed that there is not too much left to be said.

This can complete the process in most settings. However, after exploring this process more publicly under the auspices of Alternate ROOTS at an Annual Meeting, I have added two more steps.

Step Five: Subject Matter Discussion

Sometimes the subject matter of a work is such that responders want to get into a discussion about its content. The discussion may or may not relate to the specific evolution of the piece. In order not to break the momentum of the peer response work, one can just table the discussion for this step. For example: a person seeing my work "The Good Jew?" wanted to get into a discussion about the Covenant and its relation to contemporary Jews. I suggested we wait and talk about it later since it was a more theoretical discussion of some concern to some people.

My friend and colleague Sally Nash has recently contributed another possible use for this step. She appreciates hearing what personal stories, memories or feelings come up for people as they watch her work; these could be told at this step. I suspect that it might also happen during the first step as a kind of affirmation depending on the way it is stated, and the facilitator's sense of the momentum of the discussion.

Step Six: Working on the Work

Sometimes after a session like this, the artist may be ready to get to work on a particular section. If a relationship has been set up in advance, then "labbing" the work can be very fruitful. I suggest this be done with only one person in charge (the teacher, the facilitator, the friend). Others may watch if that is OK with both parties involved.

That is what I know of this process now, in the fall of 1993. I hope that people will try it, refine it, and let me know how it works for them. In my travels this past year, I have discovered that many artists are working on their own processes for dialog about work. For some, it is an ongoing part of the creative work with company members, for others an organized part of the dance community's efforts to support each other. I am hopeful about all this activity, and hopeful that at some time in the future all these efforts can build to some dialog among those who write about art, those who fund art and those who make art.

Liz Lerman is the founding director of The Dance Exchange. A MacArthur Foundaiton Fellow, she is nationally recognized for her work with older dancers and for her role in the national movement of artists and presenters dedicated to creating inclusive, respectful and artistically satisfying community residencies. This story was first published in High Performance #64, Winter 1993. New writing about the Critical Response Process may be found in "Critical Response Process: A Method for Getting Useful Feedback on Anything You Make, from Dance to Dessert" by Liz Lerman and John Borstel (Liz Lerman Dance Exchange, 2003).

Critical Response in the Field: One Artist's Experience

During the 1992 ROOTS Annual Meeting I became very excited about Liz Lerman's Critical Response Process (CRP) and came back to San Antonio determined to use it in various aspects of my artistic life.

I have used the method in four general areas: with Jump-Start Performance Company members, with a high-school theater class, with audiences following a reading of a new work and one-on-one with artists after viewing their performances. Throughout all of these sessions there was constant assessment of the process.

For the members of Jump-Start Performance Co. this method has made it feel "safe" to honestly and openly critique each other's work. Jump-Start is a company of independent artists who perform in a variety of styles from performance art to theater to dance. It has been hard for the company to talk about each other's work and have a structured critique session that is constructive.

"I like being forced to follow a structure," says Diana Rodriguez, company member, "because of the limitations the process sets on the responder, you are forced to aim (the criticism) properly." In general, the company has felt that the closer the responders follow the structure, the more effective the session becomes. When the respondents wander from the series of steps, the "safety" of the method becomes diffused.

I am an artist-in-residence at a private school here in San Antonio and I teach one theater arts class. Until I initiated the Critical Response Process in the classroom it had been very difficult to get students to give thoughtful critiques of other students' work. By using the structure and having students themselves facilitate sessions, a whole new level of discussion has emerged. Because the CRP encourages dialog and a constructive and valuable exchange, students learn much more than they would from just hearing a barrage of criticism.

At Jump-Start, we also tried the process on audiences that had come to see Katherine Griffith's reading of her new work "Lost in Utopia." I gave a brief introduction about the process and then facilitated responses from the viewers. "It surprised me how enlightening that was. I still refer to the notes. It made the process of doing a reading more productive than it had ever been before," says Katherine.

The other uses have been in one-on-one dialogs with artists. This, for me, is the most difficult situation. The responder is on her/his own with the artist. There is no relief from other responders. Also, it is somewhat difficult to individually teach the CRP to each artist that wants response.

Here are some final observations and suggestions about using the process:
• It does take time. Be patient. It is worth it to do it right and not as a quick fix.
• The process works for full-length and short works. Sometimes it is amazing how much response can be generated from two minutes of performance.
• A strong and sensitive facilitator is necessary for the best results—someone who can keep the responders on track, will let everyone have the chance to speak, will delicately point out judgmental and harsh criticism and will be sensitive to racial, cultural and gender issues.
• An atmosphere of nonjudgment is essential to the process. The responders, especially responders who are artists themselves, need to set their own egos aside, use their knowledge constructively and not try and make the piece being critiqued into their own work.
• The process works best when adhered to strictly. If respondents wander from one step to the next and back, it is not as effective.
• It creates a more detailed dialog to critique the work as soon after viewing as possible.
• Don't be afraid to critique the process while doing it. This helps everyone become more comfortable and knowledgeable.
• Finally, the process helps the viewer enjoy the work more because the responder is able to learn not to impose her/his own viewpoint.

—Steve Bailey

Wendy's Writing Rulkes of Rest Version 1 or 2

WENDY's WRITING

The rule of rests:

There will be a short pause before Continuing.

(Count to 5)

After which there will be small breaks (count 2) and gaps (count 3) between words (count 4) until the next rest.

(Count 6)

There will then be continuous gaps with meaningless noises in them- which (errrrr) you (I errr …….) will (…………) recognise (…….) as (………..) hesitation.

(Count 7)

She who (……..) is ( count 5).
There will now be a brief pause while we remember those of us who have got lost.

(Count 15)


There will also be a pause for thought.

(Count 20)

Which we will follow with a moment where we all stop and consider what has just happened and then there will be a moment when we all start again and forget the last pause completely.

(Count 3)

But it will be followed by another moment when we stop and wonder why we started up again so fast after the last pause

(Count 8)

And we might be thinking that maybe that lastpause was a bit too brief to really do justice to the initial event?

(Count 2)

And in our anxiety (count 1) and confusion we (count 3) will begin to pause at different times but (count 2) get frustrated that we (count 3) cant really assert a good weighty pause into the atmosphere. (Count 2)



So we will pre- arrange a group pause, on a given signal, with some rules attached and we will agree that it will happen right now—from now until then

(Count 25)

- Although it may not be the same kind of pause that we were looking for.

(Count 5)

It may, in fact, be more like a gap which we know has a definite length and we may slowly start to feel a bit like we are waiting –like we are being a bit dutiful, but
We will surrender to the pause from now till then.


( Count 25)

So, from now until then.

( Count 5)
now and then

( Count 4)

I think

( Count 1)

Language.

( count 3).

BLOODY LANGUAGE.

The insistence,
The sheer bloody insistence- spelling it all out, , dragging it all up ,
stamping all over your hard earned pause. your hard won quiet.

Bastard language – spouting stuff like Yours and Mine and I and You with all that pluralized WE/US Caring and sharing all over you .

Enough of all those crap words with their Aren’t I clever, Look At Me, fancy pants tautology. .
All those wannabe explanationions- umming ahhing and, erring til Kingdom Come.
A bit of analysis here, a bit of opinion there and a bucket of hearsay to wash it all down with and what about all that
I’ve Just Been Down and the shops and bought myself a whole new sentence structure with words like Leaked and Smart and Ambigious And Death Row and Mexican Radio dropped in and out like a dictionary on heat.


Bring back the quiet. Reinstate the silence.
Those smart arsed words start creeping in, throwing their weight around.
It used to be just
( count 15)
No arguments, no misunderstandings, no discrepancies, no indecision, none of that problematising or thematic definition,
But first it’s a little bit of “ we all understand something different when you say…” and a little bit of “ I don’t really know how to say this but” there and before you know it its:

good morning/good afternoon and it is indeed and I get lengthened and shortened and have you got the code and is Elizabeth your proper name? and Tripleting queen and Symphony and yeah its nice and my drummer is a computer and my typewriter is on narcotics and my pen is on acid Single Controversy ,Steroids in a million years and yeah America - Show me, Show me .
And Could we gather together for a moment and has anyone got any thoughts on and shall we share and does anyone want to knowing I may unplug and Yesterday I was lost –Today I have found myself –Hallelujah Hallelujah- Praise the Lord- and it may not last.
And I imposed myself on myself and made choices and I'/m used to a silent empty space- and like to get into my vest and pants and I realise – I felt happy. And can I ask…were you ok with people joining you?
And -I had to join the dots to make it work.
or
If you invade me- ( and it was very funny) I had parallel experience- and there was a generous amount of time to attune myself and Is there a task? and we were saying that space was very slow- Just to take some time to roll over and start locomotion and how you frame what you do and I can only consider.
And the edges and boundaries and space to listen to , and feel a containment and too many edges and sometimes its too much to think about.
And I so not wanted to be there in the middle of the space. And I wanted and enjoyed it , it was great and why did you? and did you make a decision? and why? Why? you were and I don’t know and maybe I don’t know I can’t remember and I can guess. And you chose and interesting and again its retrospective and I think that I didn’t think beyond that and its interesting and I felt it doesn’t surprise me and I surprised myself and I liked and I liked and I’m not phased and do it to death till you die and what you said
, “ single minded and clear choices “,
and I was drawn to it and if I’ve learnt nothing else I think I know I am –and as I/m thinking I/m constructing and I/m kind of pushing - I/m pushing it .
And we don’t know and we can only guess and suggest and we only know from texts and words and this is what I/m currently thinking about if I come into it and I feel so lost , I couldn’t find the space and I guess I was asking for me, and I thought I was thinking “ why and erm, and I/m not ? “and I try and maybe I was asking the wrong question and I am trying to have something so far away from me , and I and I am curious to know more what is happening when we do this and I don’t know my place, I never had a mentor and I always found myself not yet capable and what I do is…………………..
know fully and I don’t know what else to call it . I’m struggling and my starting point is --- I don’t know and I don’t know and I was born in 1972 and this is who I am and this is what I bring with me and yes, I was wondering what it is and Yeah ,Yeah , I read a book about it and I’m so far away from it and yet……
I don’t know. I don’t know where to start .What do I bring.?
And I enjoy , `I really enjoy it and I don’t feel the need and I just want to be and I gather and I like that and that’s how I’ve been taught and for me is the same. I think performance always has to have an audience and I think my main question is :
What err , errr, ……….? And I want know more.
I can’t and I don’t really separate myself and my starting point is ermm –
I err -I don’t know where my boundaries are and I know what you’re saying and I have to say-, if you know what your identity is - I could tell you-. I didn’t come into create work and I don’t think you’re asking .
I think my main question is this …
I wasn’t in the space and I was told so I went and did then I came and I decided to be practical about it and I/m not free so I said ok and I came and looked and I said I’m going to start getting ready and when I can start doing what I want to again and where I can be free .
I can play and I can choose and nothing to do with you, that’s why I left the room.
I thought and you did. I didn’t and you didn’t and you could have chosen .
And also
Sorry I’m confused, and not you telling me to go there. I cleared and ran round for a bit and I chose , I tried and I warmed .I did my stuff and I was just practical , I saw your parents and I took and used it.
And We used to wait and we can’t make any sound and you were trying.
and I came, I saw and logged and I tried not to be and maybe my better question is :
Could you and what is the nature?
I am so accepting and are you looking for a name I wonder. My question is , Berlin ?

Everywhere people do this and there you go. I just enjoy doing this and that’s it . And maybe I’m more interested and I didn’t do it and I never found myself doing it and of course I know I can love it and I don’t want to find out, I understand what you’re saying.
And we all have our various reasons and for me its about because I want to be and I want to be as I came in ,with an expectation, and I was ready to throttle. I put myself in and I think there’s a……… I think there’s very practical reasons and you always have to produce something and I find this extraordinary . I would like more of this and can I ask you why.
And I loved and enjoyed and when I went home and thought through, I enjoyed that business and today I finally woke up and wanted to try and make myself .
I would see people and when I looked around and set off ,that’s me imposing .
I will sit and listen and at that point it ended for me and you didn’t want to and that I found that I wanted to be .
And you weren’t blank and I was really fighting an urge and put myself in a place. I am rigid and I want to ask is there anything practical?
Or I am still exploring and I am going to serve somebody else and I am going to honour somebody else and I am going to write codes and other signs and I found myself very comfortable, and I didn’t have any big urge, I stood up and I felt perfectly fine there. I felt like myself and I am feeling this need
and I just enjoyed and I enjoyed the fact and I am part of and in the same way I was sort of ok ok and–how was it for you?
And I think I heard something and because its so everywhere I thought it was all about and then I found it was and I realised what should I do?
I want to dance and I’m just trying to explain my experience and I started and clocking the space and other than my space you know I just followed my nose and I could try and be economical and I can’t errrr……..
I don’t know the attempts and the needs and something like this: lets say as a practise I believe and I just have a belief and if I watch and check out my very own fears , very own courage and behaviours, actions and things like that and do find myself in- will find myself in trusting and maybe I can get across.
And the formal details are just details and whether all of this things I am just trying to get through and I’m, I’m a bit……………..
and I left and I was really sick of and theatres and social stuff and I started and I don’t even like that word anymore. I? and can I put my body into something?
and all of that I think and I wonder and I think and I think and I think and think and how can you tell?
and I thought and I thought I can’t do that and I thought I miss that and generally in my life I want stuff to maintain and I was thinking I wouldn’t call it a practise and I would call it experiencing and you have to be you
and sometimes I found it and didn’t disturb it. And
I thought it was terribly funny and you don’t set off and I like the non verbal and its because its me and I just removed myself and I just put on trousers and you see- I loved it and I thought it was great
and. I was writing and I thought , once you start- just kept on going and I thought I can’t go and I held on and paused everybody .






and so errrrrrr-
“ I just liked and it was hard and I could have done that and what’s the point ?”
you know I kind of feel what’s the worse that can happen?
you know - push me around come on and can you relate to that?,
I’m always available and maybe at the end of the day I think
; would I be dead ? would I be injured?
and I enjoyed just following that and then at some point I turned round and saw you in your pants and I started crying a bit and I just decided I would just take a moment and I think I got a bit jealous and I realised I kind of was holding and I was quite disappointed and I hadn’t seen that and ermm ermm ……………..
and I don’t know what to say really.
I did a bit of erasing and I read and I knew and I read and I wanted to and I nearly had you and I just wanted to try it and wanted to and also didn’t and I had a moment and you stopped me in my track and for me and you I don’t want and on a personal level I copped out of that one and I thought and I thought you copped out and you dropped out and then you didn’t cop out and you could have chased me .
And
: don’t start dancing with me if you’re not going to finish it”
: you didn’t yeah :
“I’m quite glad I’m not what I think”

and
my writing and your lighting and I’m listening to desires and can I and why don’t we? and I’m cured and

hallelujah and hallelujah

and we all are and we live in the world and I think we all are and I mean it , no I mean it more and we started to notice and you became and I gave myself and found out that I uttered a few words I didn’t speak today .

( Count 10)


There will be a short pause before continuing…….

Day 20 Written up by Ruth

Photographs…

Charlotte.

60 Documentary Photographs from the four weeks… laid out on the floor…

Instructions: Set a solo task for another person by choosing one image to give them and then set them a task in relationship to the photograph…


Tasks

Patritzia : Play like Leah and maybe become her.. be in her head for a moment – set by ellen

Lyndsey : try to imagine what Charlotte and scott were seeing through the camera lens … responding to Scotts face…. Set by PK

Scott – go for it- set by Alex –I was where is my woice I can ghhutrying to make some time and space… I thought might be some sound

Alex – either with sound or an image/ recreate the picture of nom sleeping – set by Ellie – concentrated on her right hand…

Wendy – set by Val to go through the alphabet in words and talk in response to the picture

Ellen – set by Liz – do little pictures of my kicking chair dance and then reverse it

Liz – from wendy – told me to pick any picture I like and do first thing that came into my head/body

Val – from Darren – put it into a funeral situation..

Ellie – from Lydsey .. re intepret the scene that the line up was looking at…

Darren – from charlotte. Do something from test run in a minute…

Charlotte –from ruth .. how would I start to make a new show..

Ruth – Scott …. Imagine the photo a still from the first night of a show… discuss production values and content..


Discussion.


Ellen : makes a difference,,,,, cos someone picking a picture for you…
CV we could have chosen 101 many different ways of working on this..

MINI DISK

What should we set up… what we’ve got on mini disk is ….
Discussions/ fragments of conversations/odd bits of text…
Could start with put sound on … one/two people in the space…

TASK
Performers can say end….. pause…. repeat…….
Allow for different configurations of people in the space…
Go into space then sound comes on….





How d you get form the question to the task?? Ha ha ha ha ha. Pause. Reduce. Reduce.
Can I just have this question…what is the total value about the sum of parts , about this notion of total value, of the piece that involves on than one person. Something about the sum of the parts really, what’s the total total value total value the total value the total value something about the sum of the parts and I would like to make a new woman OF ME OUT OF THE THINGS I SAY.
Youth is its own performance and nothing belongs to us noone even if we sit in motorway restaurants. Another quote was people bvarely feel the need for ules . You are a new woman. Another quote I’d like to ameet nother woman aou to fht ethings that I say . I’d like to meet a new person out of the things that I say. A new woman of me out the things yhat I say.
Page 1.


CV

Go round … share a thought

Yes and no
I appreciated having a bit of control over events… raise the possibility in the individual express their opinion and it would have the affect…
People were attuned to pause… there were discernable affects… listening to each other and rules and roles

We had a constant ie a person and sound…
Because its sonic the ac of listening becomes more pronounced…

I thought it was far more interesting solutions occurring which I thought were beautiful and different… maybe it was because of the listening.. and we tried much smaller things it was completely different for me not grabbing back to dancing stuff for myself
For me it was a more evocative and visual space

I found it curious being there for so long.. but I enjoyed it and feeding off whats happening and whats responding.. I do it with music but interesting to do it with work.. I enjoyed latching on to particular repeats.. so that things began to form… I enjoyed process of choreography through sound but I think the text made a big difference..
Time loops, the place that people aren’t in and what sound that might be how you can visually transform somebody into a sound by pointing ..
Loved the potato becoming a drum kit – strange solutions…
I had an interesting perspective cos started off by the camera… everything in the space was quite calm and steady and words directed out but from where I am could see charlotte moving and working very fast… and she was operating continuously at that speed
The space and the repetition …. I was confused with the rules at the beginning.. but it became clearer..ie outside calling rules…
That evolved as it went not sure we decided that before
I the space was really big and it felt big and I don’t know if its because of the sound/pause but it felt big.. it was harder to place myself in the space than before..
The syche affects that… cos it makes it feel more spacious…
I found something I was intrigued how I am going to react to my voice.. its something interesting to play with your own voice and own words.. because of playing with yourself from the past.. double ping pong game… the melody of it processing it… and how different people recording and re looping it editing it, time frames sliding on top of each other making a dialogue of myself and choose
I quite enjoyed those confusions about where sound coming from .
In performance terms the roles of you are a lx designer, a dancer, choreographer are not in your control… cos often its non of your business about what else or how else things are being created.. this gives us the idea that I can have a view……
Live music in performance raises those questions about sound and where it comes from… and it starts to mesh all the forms together cos you ant take those things for granted…
I was interested in how much it changed the space.. paying attention to aural information opened up the space for me… the business of the space felt a lot more paired down… something about the care with which people listened and paid attention to the space.. it felt tentative at first but I was surprised at the layering that built up individually and from outside wondering about what info people taking into the space with them… were they responding to word rhythm,..
I felt also that you could only join in with somebody you couldn’t start something with somebody you had to process sound first then work out how to join in…
Curiously some of the pauses served to clear the space…
Were you … responding to your recordings…
I was looping or pausing or responding to sounds I’d recorded… like a live format or loop…heightens the mini or maxi version
Felt self conscious about hearing my voice… but after that.. ~I felt a sense of collective agreement a sense of when something was working
Like a group of people was beginning to sing or play the same song…
That there was a larger phrasing..
The word sustain changed something… I … felt that it carried on and things were meant…
Im interested in when people say something and mean it.. how do we know why do we listen to somebody
Why do you listen to someone singing a sone how do you know they mean it..
I felt you menat it that it was directorial and that it was accepted..
Yes it interesting when a voice leads and its followed
What does sustain mean …
Please continue, or its pleasing me, a desire for something to remain or sustain..
It was a very usefrul exercise in paying attention andlistening cos I was aware that if I got too lost in what I was doing .. I stopped listening.. it was clear about listening in the space whats informing what you are doing…




Find three bits of video …

Instruction/Task

No sound …….
Make a sound track to a silent video ………


Blogs text

Read out individually and listen

End

Charlotte.. thanks to everyone been very interesting, useful, challenging,

Liz – thanks for inviting me so often in performance you get pigeon-holed and don’t often get a chance to be involved in exploration

Ellen – Yes I don’t get a chance to be involved in these sort of processes, often get pigeon-holed, wonderful to meet all the lovely dancers

Darren – I’ve started a process of mulching to mind me so thank you

Scott – yes thanks… a space cultivated to formulate questions rather than an assumption that this should be producing something, feel safe to try shit on and get feedback in a nascent way without great expectations

Lyndsey – at the beginning of the week I said that I wanted to re- engage with a physically expressive self – and what I’ve discovered is that I know virtually nothing and Im still interested

Ellen – at times it was exhilarating to be let loose in these two hour sessions, that hasn’t happened for a long time in my life…

Charlotte.. to some extent this gathering was political in that we exist in the current climate of being judged by what we produce.... ..
I think we’ve reached some kind of understanding of each other and there is power in numbers
So even if its not curated by my company I’d like to approach the arts council with the idea of having an annual type gathering … between us there is a couple of hundred years of experience

Scot – I’d be interested to keep mixing it up ie with nom/leah .. so that its representative in a broad sense not just choreographers…

Charlotte … if we organise it again there are questions about space.. where would we do it … rural/away/ different spaces.. and if we did it again what would we change…