DAY SIX

By Charlotte Vincent

Leah - You judge the apple by the apple not the wrapping paper.
Don’t judge a book by its cover.

MORNING DISCUSSION
Responsibility different from direction.
Chairing the beginning session – share the responsibility for this?
Charlotte set up task in the morning – an example of the private ‘you’ entering the space without consent or understanding of the group – a better way might be to ask the group first if any one else has any ideas then suggest yours.

Task One – 1

CV TO DESCRIBE TASK HERE

AFTER COFFEE
Could we reflect on what your understanding of the task was?
RK- Go to a book open a page see where it takes you
PK- Connect it if its possible to what happened last week
VF- Letting things happen – choosing what interests you
RBT - About filtering you – looking for the connections – scanning
AC - Link it to what you said yesterday – gave it a name – the quality and insight of observational synopsis, objectively speaking
I didn’t really know in the beginning – I recognised the title of the

Task Two – reflecting on task one
What drew you to the first book you were drawn to?
How did you approach the book?
Did the way you approached the book differ to the way you approach dancing?
How did you document your interest in the book? What choices did you make in the documentation of the work?
Share your PAGE ONE thoughts with the group for five minutes without interruption.
Group writes responses or questions
Group opportunity to ask question
Pairs – and try to formulate a task around the question.

JANUSZ – track 4 mini disc
Taking your own time –
Sometimes hard not to rush thing
Feel your way forward
Allow stillness \Not to do much and think that this is ok
Failure at work and what to do to recover form it
Let go of aspirations and judgements and pay more attention to what is coming out of tasks
When we feel that we have achieved little – it turns out that there is more to thing than we thought
Not to judge
Peter Brook Quote from Day one

THE ADVENTIURE OF A NEAR SIGHTED MAN - Italo Calvino

What makes you look at things
How does an object or a person change your perception of looking at things.

Q1 – Title drew me in – The widening Field – Journeys into the Bodies and The imagination. Will I find similar things in the other books I have chosen?
What will this process be like Emotions in theatre?

Q2- I opened it on a random page – Taking Your own Time – found a chapter about Getting Stuck. Peter Brook – about Directors. Didn’t want to continue thinking about theatre – so ended up reading a story about a guy who is near sighted – he’s a rich business man living in a place without friends – how he sees things with the glasses and without he glasses. He describes the contours of shapes and people. He goes to the city where he went to school and sees a girl who he recognises – possibly the girl he left the city for. Seeing things and how much we wan to see things.

Q3 – With an open mind. Not knowing what could come out of it – what words can I see to relate to dance

Q4- I wanted to find thoughts visions and thoughts which I knew before and find something new from it even though I have heard it before.


RACHEAL – track 5 on mini-disk
So I just picked up a book and I opened it – I know its here somewhere because it always is. you are typing away but I’d like
STALKER by TARKOVSKI. I don’t know if `I have what it takes to make an overall comment. I am looking at a stage performance where you can what whatever you like … the function of the first movement in his composition is to make the audience impatient. The TV screen
Slow thought by nature
Slow thought by practice
Slow thought by force of will – meaning courage
If we succeed nothing is happening
The experience deserves
To look twice and again and again - page 81 – 6.3 MicroLectures Matthew Goulish

Do you really imagine you know everything about life.
How to work and not how to criticise the - an exchange of energy. No one is distracting you. Peacefulness. Page 79 micro lectures

Transformation of self to more self – Wooster Group – looking for truth in the real is fatal – the stand in is the more thing. The more self.


Number 39 A5 shape – I didn’t know the book I opened it and kept reading.

SCOTT- Notion of artefact less interest in - practice of being in someone’s presence – value not just the artefact but the translation of it. I’m very happy to have your reflections.

ALEX
Similarities in technique of staying out of the self. Spacial decision where to sit. Excerpt – can you read small bits – take the I out of the book – I read the covers and publishers of the books to see what comes out of these random.
He writes freely but with immense understanding
The second one says – written with warmth and intelligence and full of helpful tips
This book is full of
It is a book of our time.
This handbook is part of the process. This book describes sources and strategies for working between various sources of expression
An unforgettable book
This book takes us on a visual journey

CV – this dance ……?Formal task around it?

We think by feeling – what is there to know?
Its location
Its availability
Its quote from last night
With confidence
I realise I was putting a lot of I into it

DA did you write the entire quotes

Can we remove the I form advertisement / description of the dance ?
The presentation I full of I – the contradictions

The I in the process
WH commented that the way you write offer clues to your natural tendencies – what do you notice first? How do you use language?
What we may be interested in is making explicit the choice-making in the choreographic process.


I made a decision to remove the I – more neutral - but perhaps that isn’t the case – the I was in fact more present. In the setting of your own task. The choice is visible in the presentation. There are many I’s – that’s the conclusion?
What is our easy I / the more I / the original I is what ?
Individual I is a positive force- if you are watching / listening the eye in the environment can it have some space to hear someone else?

The I in relation to someone else.
Composer and choreographer as outsider.