"When I see a dancer seeing, I see them absolutely free of their habitual behaviour, I see them absolutely affected by their visual field, and so the surprises are endless."
"To celebrate the endless possibilities if we could just learn to let go of what we think we want"
The idea of noticing a moment and moving onto the next, without holding onto one thing.
To be a participant in life without grasping and continuing to hold. To learn not to grasp.
The idea of not being afraid of what you don't know.
Monday 28 November 2011
Lightening
How do I choreograph a piece?
I'm not trying to tell a story, or say what it is
I'm trying to find out what the dance is, once I teach it to the dancers. Through their performance I learn the fine tuning of the sketch that I come in with.
Space plays a big role in terms of the performance of the movement
Space, time, self and audience are the ingredients I work with in terms of the performance of the choreographed material
There is no time to improvise in my piece. The dancers are given so much to notice
Lightening is a play on words. I'm devoted to using language to excite the imagination.
They make choreographic choices about space and time within the performance of my dances.
I'm not trying to tell a story, or say what it is
I'm trying to find out what the dance is, once I teach it to the dancers. Through their performance I learn the fine tuning of the sketch that I come in with.
Space plays a big role in terms of the performance of the movement
Space, time, self and audience are the ingredients I work with in terms of the performance of the choreographed material
There is no time to improvise in my piece. The dancers are given so much to notice
Lightening is a play on words. I'm devoted to using language to excite the imagination.
They make choreographic choices about space and time within the performance of my dances.
Sunday 27 November 2011
Walking Within
.eerie opening atmosphere
.Found the lighting interesting at the start of the piece. I liked the shapes that it created
.Use of paper score
.Interaction with audience members
.Movement was very fluid and covered a range of space
.I found the use of film didn't really interest me at the beginning and I tended to ignore it and watch the movement that was being created instead. However, it grabbed my attention when it almost told a story and helped to create a chaotic and at times claustrophobic atmosphere.
A journey
with boundaries
and transitions
Observing
Listening
A commentary
A fiction
Life like
www.walkingwithin.com
.Found the lighting interesting at the start of the piece. I liked the shapes that it created
.Use of paper score
.Interaction with audience members
.Movement was very fluid and covered a range of space
.I found the use of film didn't really interest me at the beginning and I tended to ignore it and watch the movement that was being created instead. However, it grabbed my attention when it almost told a story and helped to create a chaotic and at times claustrophobic atmosphere.
A journey
with boundaries
and transitions
Observing
Listening
A commentary
A fiction
Life like
www.walkingwithin.com
Andrea Buckley Research
Andrea Buckley works as an independent dance artist, whose experience extends over 20 years, performing teaching and creating work in various professional contexts to include the wider community.
Her primary research draws upon an extensive range of improvisation and contact skills as a way to continue to develop an awareness of the moving body and expand a repertoire of composition.
She has performed with many independent artists touring UK, Ireland, Europe and parts of America. These include; Kirstie Simson, Nancy Stark–Smith, MacLennan Dance & Company, Rosemary Lee, Gill Clarke and Deborah Hay.
Committed to work happening in the North West Andrea is part of an artist led initiative, Liverpool Improvisation Collective (LIC) - initiating workshops, festivals and performance projects - they have a designated artist led space at the Bluecoat, Liverpool.
Presently as well as working with Siobhan Davies Dance, she is developing her own performance project Walking Within - Episode II in collaboration with film artist Dan Williams and Composer/musician Jamie McCarthy.
Her primary research draws upon an extensive range of improvisation and contact skills as a way to continue to develop an awareness of the moving body and expand a repertoire of composition.
She has performed with many independent artists touring UK, Ireland, Europe and parts of America. These include; Kirstie Simson, Nancy Stark–Smith, MacLennan Dance & Company, Rosemary Lee, Gill Clarke and Deborah Hay.
Committed to work happening in the North West Andrea is part of an artist led initiative, Liverpool Improvisation Collective (LIC) - initiating workshops, festivals and performance projects - they have a designated artist led space at the Bluecoat, Liverpool.
Presently as well as working with Siobhan Davies Dance, she is developing her own performance project Walking Within - Episode II in collaboration with film artist Dan Williams and Composer/musician Jamie McCarthy.
Performance Project
This term as part of our performance project module, I get the opportunity to work with independent dance artist and choreographer Andrea Buckley. I am looking forward to the process of working towards a final piece of work and developing many new skills along the way. As a result of Andrea working mainly with improvisation and contact work, I know that this will be a huge challenge for me as these are two areas that I still don't feel entirely confident in just yet. I hope that the five day dance intensive will create an opportunity for me to question and explore my process as a dancer and will help me in becoming more confident in how I perform.
Pelvis Awareness
Points of Focus:
1.Longer strides help to emphasise the fact that it moves from left to right
2.Using the breath feel it dip "like a hiccup" and let it take you up into the air
3.Try it with a spiral and on alternative sides
1.Longer strides help to emphasise the fact that it moves from left to right
2.Using the breath feel it dip "like a hiccup" and let it take you up into the air
3.Try it with a spiral and on alternative sides
Movement Transitions
Points of focus:
1.Sending energy out into space
2.Watching where the skull is in relation to the rest of the body
3.Rocking backwards and forwards, using hands and feet to take the pressure. Remember to keep the spine easy and soft.
1.Sending energy out into space
2.Watching where the skull is in relation to the rest of the body
3.Rocking backwards and forwards, using hands and feet to take the pressure. Remember to keep the spine easy and soft.
Friday 25 November 2011
Witnessing Movement
.Fuid movements
.Equal input of words-nice to hear different languages
.Consistently worked on the floor
.All seemed to move at the same pace
.Movements really stretch out and use the avaliable space
.Change of pace from walk to run
.Investigation takes place before the next word is thrown in
.Possibility to reject the instruction
.Equal input of words-nice to hear different languages
.Consistently worked on the floor
.All seemed to move at the same pace
.Movements really stretch out and use the avaliable space
.Change of pace from walk to run
.Investigation takes place before the next word is thrown in
.Possibility to reject the instruction
Movement With Words
Floats Continuious Glance Glee Pleasure
Host Stars Dance Company Daffodils
Golden Stretched Waves Pensive
Fluid Small Floor Water
Host Stars Dance Company Daffodils
Golden Stretched Waves Pensive
Fluid Small Floor Water
Poem Choice
I've always had an interest in this poem as it was introduced to me at a very young age when the description of dancing in relation to nature grabbed my attention. I also liked the idea that an image that is so simple, and yet one that we often take for granted, could bring the poet so much joy and as a result often take away the pain of lonliness.
If I Could Write Words
If I could write words
Like leaves on an autumn forest floor
What a bonfire my letters would make
If I could speak words of water,
You would drown when I said
"I love you"
Like leaves on an autumn forest floor
What a bonfire my letters would make
If I could speak words of water,
You would drown when I said
"I love you"
Daffodils- William Wordsworth
I wondered lonely as a cloud
That floats on high o'er vales and hills
When all at once I saw
A host, of golden daffodils;
Beside the lake, beneath the trees
Fluttering and dancing in the breeze
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance
The waves beside them danced, but they
Out-did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund company:
I gazed-and gazed-but little thought
What wealth the show to me had brought
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils
That floats on high o'er vales and hills
When all at once I saw
A host, of golden daffodils;
Beside the lake, beneath the trees
Fluttering and dancing in the breeze
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance
The waves beside them danced, but they
Out-did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund company:
I gazed-and gazed-but little thought
What wealth the show to me had brought
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils
Sunday 13 November 2011
Group Work
Working in groups of four we had to "look for the spaces" inbetween each other. This required seeing the space at all times and having a sense of where each of us where in the space. My feet and knees had to be soft and supple in order to move quickly and to be ready for surprise movements. Balance was also needed to start and stop abruptly. Adding onto the score we played with the idea of one person always standing and one person always being on a low level. This required extra concentration to see what other people in the group were doing.
The main difference in working with a larger group was the higher level of energy and creativity. It was interesting to watch everyone in the space at the same time and how that compared with only a few people in the space.
The main difference in working with a larger group was the higher level of energy and creativity. It was interesting to watch everyone in the space at the same time and how that compared with only a few people in the space.
Amy's Improvisation Class
As a warm up exercise we began on the floor and gave thought to the skull and where it was in relation to space. With this is mind we began to roll with the head leading. I find it easier to lead with the head on the floor as opposed to the pelvis because it feels heavier and therefore I can become more aware of the direction it wants to travel in. We then introduced the idea of using the hands and feet to take us in and out of the floor, with the head continuing to lead. This helped me to explore more with transitions from lying, to sitting, to standing. I noticed that as I roll my head up I tend to move the last few vertabres very slowly as they tend to feel more fragile and less protected.
I moved towards a partner with my eyes closed and placed my feet against theirs. Playing with giving and taking weight, I noticed that when I pushed against my partner she didn't move but when she pushed against me I had to use all my support and strength in my legs to resist. Even then, I found myself slipping across the floor. We explored the idea of having our heads always connected and I found this easier as it created a stronger sense of connection and the transitions in and out of the floor were more fluid.
I moved towards a partner with my eyes closed and placed my feet against theirs. Playing with giving and taking weight, I noticed that when I pushed against my partner she didn't move but when she pushed against me I had to use all my support and strength in my legs to resist. Even then, I found myself slipping across the floor. We explored the idea of having our heads always connected and I found this easier as it created a stronger sense of connection and the transitions in and out of the floor were more fluid.
Thursday 10 November 2011
What is Proccess?
To be in the middle or midst of something
Putting lessons and knowledge into practice
A never-ending development
Constant Learning
Continue to Witness/observe your own development
Feeling in a moment
Letting go of end-gaining, and enjoying being in the moment.
As a dancer I feel that I am always in a process of creating my skills both physically and creativly. I have found over the past year that learning to become patient with my development is also a process in itself.
Putting lessons and knowledge into practice
A never-ending development
Constant Learning
Continue to Witness/observe your own development
Feeling in a moment
Letting go of end-gaining, and enjoying being in the moment.
As a dancer I feel that I am always in a process of creating my skills both physically and creativly. I have found over the past year that learning to become patient with my development is also a process in itself.
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