Sent: 28 May 2011 20:51
To: Mary Ann
Subject: some text on movement creation for the game
Some things about the physical language of the performers and the process... obviously in my head a lot.
here are some ideas:
My practice of making movement with complete awareness is based on Laban theory. For example using effort theory as a template to investigate and form complex language and innovate on the different ways a gesture is performed for different readings. For the process in this project I am seeking to bridge set composition with improvisation and the viscerality of the real action with stylization and this way create a distinct hybrid language.
For this language I will draw from different practices and systems oscillating from the pure bodily effort one encounters in athletes to the minimum shadow movements of a more still body in introspection and from formal gestural compositions to almost formless ourbursts of energy underpinning urgency and keeping control at stake. I will look at movement codes from Laban's effort theory to Viewpoints and music forms such as Fugue and Counterpoint. Out of this research I will create fragments of physical languages for the performers to use.
There will also be a set of pre-choreographed and rehearsed systems related to states of mind identified during the process and which are akin to certain dynamic qualities. In other words I will work to create a system that bridges temperatures in movement language and languages themselves. I aspire this game to suggest a fictional element met in the notion of time displacement of the moment existing alongside with its "nowness" like in J. L Borge's Library of Babel for example, dislocating the spatial and temporal dimension.
During the making process, this palette of distinct languages will be progressively integrated into a whole through a continuous whittling down to the essentials aiming to establish the non-verbal communication codes of the game. Though movement will be formalised it will aim to not draw attention to itself but the game it serves. For me as a performance maker it is essential that the language and its formal structural composition to be designed alongside the digital and the scenographic. I regard the technical elements of the different disciplines comprising this game-theatre important and vital for its effect on the public. For this I happily adopt an old fashion approach to art making – this of the painstaking process of the old masters in Renaissance paintings and architecture to create spatial illusion, though for this spectacle I think illusion may be withheld in the real live event but not in the digital proposition.
big thanks and looking forward to see read the next material.