Unwritten Dance
forwardinmotion2011@hotmail.co.uk
Forward In Motion Dance Festival 2011
SECOND YEAR PERFORMANCE PROJECT – CHOREOGRAPHY BY ANDREA BUCKLEY
Unwritten Dance – Shifting Time
Unwritten Dance is a company of second year dance students, studying at Coventry University. As part of their Performance Project module they have been given the opportunity to work with an independent dance artist and choreographer to create a unique piece, of work within a professional setting. This piece of work is to be showcased as part of The Forward in Motion Dance Festival 2011, alongside other work shown by Influx and Rooted Dance Company.
Shifting Time is what we have named our creative process. It has given us permission to expand our perception and step out side of our routines and habits
Time and space have become our playmates
Using postcards, objects, improvised workshops, body parts and contact work, Andrea Buckley helped us to create a twenty minute performance piece. Themes through this set improvised piece include the concept of chance and fate, time passing through space and the idea of orbiting. This piece will allow an audience member the opportunity to question everyday movement in improvised timings.
Andrea Buckley Biography
Andrea Buckley works as an independent dance artist. Her 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. Most recently she has been working with Siobhan Davies Dance in a performance project ROTOR touring 2009/10.
With regards to her own recent work Walking Within was created and performed first in 2009 in collaboration with film artist Daniel Williams and Composer/musician Jamie McCarthy. She continues the performance of this work in various settings as a way to keep alive the collaborative process and performance aspect that fuels her desire to move.
Andrea is now a certified Rolfer. It is with this knowledge and curiosity that she is inspired to explore something new that captures an investigative process.
www.walkingwithin.com
Forward in Motion Dance Festival takes place between 5th and 9th December 2011. Unwritten Dance will perform Wednesday 7th and Friday 9th at 7:30 pm in The Ellen Terry Dance and Theatre Performance Space.
Showing posts with label Performance Project. Show all posts
Showing posts with label Performance Project. Show all posts
Friday, 9 March 2012
Final Rehearsal
Technical Rehearsal
• Missed out the bouncy ball interruption part
• The orbit cant slow down just because of the music being of a different speed
• Big attention needs to be given to seeing the space
• Don’t prepare for Julia lifting you- Its better than before, but it still needs work
• Remember the order of the objects
• When jumping near the booms, be careful that they don’t shake
Dress Rehearsal
• Don’t think of the ball/ frame change of movement as something that should be done on a diagonal. Find space within the group and move It out more.
• Watch facial expressions when Julia is dragging me
• Don’t stand for too long between the end of the hopping moment and collecting the objects
• Once finished dropping the objects, stand against the wall
• Throughout the piece, keep the idea of arriving in a moment and moving onto the next one with you.
• In the river be aware of your 3D self.
• Missed out the bouncy ball interruption part
• The orbit cant slow down just because of the music being of a different speed
• Big attention needs to be given to seeing the space
• Don’t prepare for Julia lifting you- Its better than before, but it still needs work
• Remember the order of the objects
• When jumping near the booms, be careful that they don’t shake
Dress Rehearsal
• Don’t think of the ball/ frame change of movement as something that should be done on a diagonal. Find space within the group and move It out more.
• Watch facial expressions when Julia is dragging me
• Don’t stand for too long between the end of the hopping moment and collecting the objects
• Once finished dropping the objects, stand against the wall
• Throughout the piece, keep the idea of arriving in a moment and moving onto the next one with you.
• In the river be aware of your 3D self.
Feedback Session two
•The bigger face out works better than the crawling on the floor
.Need to tighten up the timing on stopping/pausing and talking together
•We all need to run out into the orbit together. If this is done properly it will automatically change the dynamic of the performance as opposed to it being flat.
•Going into the ground is much better. However, getting out of the ground needs to be a much tighter transition. Maybe try spiralling out of the ground.
•Move to the diagonal on the third run a lot quicker
•In the river make sure your legs are well grounded so you can keep your balance. The trio is slightly too long and therefore needs a moment of pause
•When you’re in the line, don’t prepare your arms. Continue to be seeing outwards.
.Need to tighten up the timing on stopping/pausing and talking together
•We all need to run out into the orbit together. If this is done properly it will automatically change the dynamic of the performance as opposed to it being flat.
•Going into the ground is much better. However, getting out of the ground needs to be a much tighter transition. Maybe try spiralling out of the ground.
•Move to the diagonal on the third run a lot quicker
•In the river make sure your legs are well grounded so you can keep your balance. The trio is slightly too long and therefore needs a moment of pause
•When you’re in the line, don’t prepare your arms. Continue to be seeing outwards.
Feedback Session One
There is a sense that everyone knows the choreography
The crawling around piece doesn’t work
In each place in the piece you need to be aware of where you are, what your doing and what your purpose is. It’s not enough to just have a special map with you. Instead you need to bring your own personal experience with you.
Until this is found the performance will remain looking “flat”
The mini diagonal still feels too quick. In the practising of improvisation it’s lost its reality. It needs to feel real: think about the first time you made the investigation
In the orbit the dropping onto the floor needs to happen quicker, within one transition. Think of the imagery of “heads on belly”, this can happen on front, ear on stomach etc
Whole hands are needed on the floor
Diagonal moment is good, but it could slow down. Allow the contact to feel real, and try to frame “special moments”
Keep the river score with you to create layers. The trio is too long and attention needs to be given to levels and speed.
The run needs to be a run and not a polite trot. Watch waves for inspiration. Put a pause in before moving onto the next movement.
Coming out into the space needs to happen with more speed. Lifts need to be given particular attention. There is too much preparation for going into lifts. Don’t “wait” for the person lifting you. What can I bring into the stillness? How can I move for a little longer?
Watch hand tension
Dropping of the ball-Practising the dropping with pauses and includes fast movements to
The crawling around piece doesn’t work
In each place in the piece you need to be aware of where you are, what your doing and what your purpose is. It’s not enough to just have a special map with you. Instead you need to bring your own personal experience with you.
Until this is found the performance will remain looking “flat”
The mini diagonal still feels too quick. In the practising of improvisation it’s lost its reality. It needs to feel real: think about the first time you made the investigation
In the orbit the dropping onto the floor needs to happen quicker, within one transition. Think of the imagery of “heads on belly”, this can happen on front, ear on stomach etc
Whole hands are needed on the floor
Diagonal moment is good, but it could slow down. Allow the contact to feel real, and try to frame “special moments”
Keep the river score with you to create layers. The trio is too long and attention needs to be given to levels and speed.
The run needs to be a run and not a polite trot. Watch waves for inspiration. Put a pause in before moving onto the next movement.
Coming out into the space needs to happen with more speed. Lifts need to be given particular attention. There is too much preparation for going into lifts. Don’t “wait” for the person lifting you. What can I bring into the stillness? How can I move for a little longer?
Watch hand tension
Dropping of the ball-Practising the dropping with pauses and includes fast movements to
Dance Intensive-Day Five
Warm up
Today we started with the same exercise as yesterday. I still felt that I wanted to work independently from the group. I think this is because I can loose myself a lot easier within my own investigation of work and don’t have to be spacially aware of others.
Group work
When we gradually made our way into contact with other people I found that I had a stronger relationship and sense of awareness of other people compared to the day before. I played with the idea of trying to use the surfaces of the floor to be in contact with my arms and upper body. It was interesting to see how much easier it was than on the lower body, particularly the upper thighs. However, I did create a stronger focus within the feet.
Chess
I enjoyed moving on the low and middle levels as I could travel and explore more. I struggled with the upper level as I didn’t want to travel too far away from my group. However, when we did travel it across the space I felt that I wanted to spend more time arriving into each moment, but in contrast my group wanted to move at a quicker pace.
River
I reflected other people’s movements from across the river as opposed to those who were in my side of it. I also didn’t change angles in the river. I need to open my movements and see the space.
Trio Work
I have my weight to Julia and she drags me across the floor. It’s important to remember to continue seeing the space as I’m being dragged. I also need to use my hands to reach the floor to create a sense of me taking my own weight. Learn to see Julia in the space as I perform section 6. Try to Hold arm position for slightly longer, to arrive in the moment. Blocking Julia needs to be a bit more forceful. Make a transition back into the moving line by using repetitive arm movements.
Today we started with the same exercise as yesterday. I still felt that I wanted to work independently from the group. I think this is because I can loose myself a lot easier within my own investigation of work and don’t have to be spacially aware of others.
Group work
When we gradually made our way into contact with other people I found that I had a stronger relationship and sense of awareness of other people compared to the day before. I played with the idea of trying to use the surfaces of the floor to be in contact with my arms and upper body. It was interesting to see how much easier it was than on the lower body, particularly the upper thighs. However, I did create a stronger focus within the feet.
Chess
I enjoyed moving on the low and middle levels as I could travel and explore more. I struggled with the upper level as I didn’t want to travel too far away from my group. However, when we did travel it across the space I felt that I wanted to spend more time arriving into each moment, but in contrast my group wanted to move at a quicker pace.
River
I reflected other people’s movements from across the river as opposed to those who were in my side of it. I also didn’t change angles in the river. I need to open my movements and see the space.
Trio Work
I have my weight to Julia and she drags me across the floor. It’s important to remember to continue seeing the space as I’m being dragged. I also need to use my hands to reach the floor to create a sense of me taking my own weight. Learn to see Julia in the space as I perform section 6. Try to Hold arm position for slightly longer, to arrive in the moment. Blocking Julia needs to be a bit more forceful. Make a transition back into the moving line by using repetitive arm movements.
Map of Performance
Walking and talking
Charlie moment
Possibility of change of angle: 45/90/180 degrees while in silence
Memory imprints- needs to travel up the diagonal. Maybe we don’t have contact with another person
Orbiting three circles- energise the space. Think of the whirlpool imagery. Have a real sense of lying down. Musical queue. Possibility of running backwards and lifting/catching. Clump can not land in the middle of the space.
River-option of 45 or 180 degrees angle
Charlie moment
Possibility of change of angle: 45/90/180 degrees while in silence
Memory imprints- needs to travel up the diagonal. Maybe we don’t have contact with another person
Orbiting three circles- energise the space. Think of the whirlpool imagery. Have a real sense of lying down. Musical queue. Possibility of running backwards and lifting/catching. Clump can not land in the middle of the space.
River-option of 45 or 180 degrees angle
Orbit Score
Take a walk in space
Introduce the option to drop the pelvis-can’t change direction
Option of running-if one person changes direction everyone has to
Option of standing still
Three people always have to be in the outer circle
I found that I enjoyed the speed, energy and sense of urgency it created and as a result found myself always on the outside circle running. Taking over people helped to create and further develop a sense of urgency. Standing still in the middle, was interesting to feel grounded while another force moved around you. Although I was part of the orbit, I wasn’t actually caught up in the urgency and at times chaotic atmosphere.
Memory Score
Working in pairs with Julia we took it in turns to dance around our partner who had their eyes closed. When I was dancing around Julia I played with the idea of moving away, coming close and creating sounds to keep Julia guessing. I found it difficult to guess what Julia was doing and therefore had to have a strong connection of my 3D self to attempt to work it out. The smaller the groups we did it in the easier and more natural it felt. When we moved it along the diagonal, I noticed how I had to adopt my movement depending on the distance of the performance. I struggled to move from the back to the front, and back again.
Snake Pass
We played with the idea of speeds and levels. The lower I went the easier it was to travel with a sense of fluidity and quicker through the line. The tenser I became, the more confused my arms became and it felt as though the test of the group were simply passing me along the line as opposed to catching and transferring my weight.
Dance Intensive-Day Four
Warm Up
Began laying on the floor. Slowly began to move my hands. Working with the imagery of my hands being able to cover all surfaces of the floor, I investigated the idea of how they take my weight in and out of the ground.
Eg: Downward dog/ upward dog
Pelvis into the air
Weight onto head
Upside down movement
As we moved into contact with three other people, I felt as though the investigation lost focus for me. I’ve become more focused on trying to work my way into the group. I noticed that my body began to feel tense, I started to hold my breath and it felt uncomfortable.
Transferring weight
Running backwards and having Emily catch me felt safe and secure. I was therefore more open to explore how fast and far I wanted to go. When I fell into her shoulder it also felt safe. However, when we began to explore the idea of Emily getting lower and me moving in front of her I noticed that my body tensed up and didn’t want to be lifted.
Began laying on the floor. Slowly began to move my hands. Working with the imagery of my hands being able to cover all surfaces of the floor, I investigated the idea of how they take my weight in and out of the ground.
Eg: Downward dog/ upward dog
Pelvis into the air
Weight onto head
Upside down movement
As we moved into contact with three other people, I felt as though the investigation lost focus for me. I’ve become more focused on trying to work my way into the group. I noticed that my body began to feel tense, I started to hold my breath and it felt uncomfortable.
Transferring weight
Running backwards and having Emily catch me felt safe and secure. I was therefore more open to explore how fast and far I wanted to go. When I fell into her shoulder it also felt safe. However, when we began to explore the idea of Emily getting lower and me moving in front of her I noticed that my body tensed up and didn’t want to be lifted.
Dance Intensive-Day Three
Set Phrase Points to Remember
1. Need to keep arm straight at the start- Don’t curve it
2. Imagery of a needle and thread
3. Keep the pelvis low whilst turning
4. Keep the hand flat- Draw the letter B in the air
5. Look at your left hand, which should be flat on the ground, before coming up again
6. Find the weight in your arms when dropping them down. Use the imagery of dominos falling to help
7. When swinging arms in air, think of cutting through bushes
8. Keep the pelvis low in the arm swings. Make sure arms are fully extended and hands are flat
9. See Julia in the space
10. Don’t rush movements
1. Need to keep arm straight at the start- Don’t curve it
2. Imagery of a needle and thread
3. Keep the pelvis low whilst turning
4. Keep the hand flat- Draw the letter B in the air
5. Look at your left hand, which should be flat on the ground, before coming up again
6. Find the weight in your arms when dropping them down. Use the imagery of dominos falling to help
7. When swinging arms in air, think of cutting through bushes
8. Keep the pelvis low in the arm swings. Make sure arms are fully extended and hands are flat
9. See Julia in the space
10. Don’t rush movements
Dance Intensive-Day Three
Hand on Work
We began the morning with some hands on work to relax the muscles in the legs. As we were now into the third day of the intensive, my legs were starting to feel sore and stiff. I noticed that they took a long time to relax into the ground and I struggled to give my partner my weight. By placing weight and pressure, through sponging, onto the legs the tension began to ease. Combing the legs made them feel elongated and I got a greater sense of the length of the leg from the hip bone down to my toes.
Contact Work
• Walking backwards/Running backwards and catching
• The element of surprise through the length and speed of running
• Trust in partner
• Awareness of 3D self when running backwards
• Upside down moment
• Keep a momentum happening
• Hands firmly on the ground, close to you
• Look behind you, not on the floor
• Pushing partners leg down to increase speed
Perching
• Knowing that perching doesn’t have to be a big movement, and that smaller options can be investigated
• Perching upwards and outwards
• To keep the movement flowing so that it builds up, falls down, crumbles and goes into different directions
We began the morning with some hands on work to relax the muscles in the legs. As we were now into the third day of the intensive, my legs were starting to feel sore and stiff. I noticed that they took a long time to relax into the ground and I struggled to give my partner my weight. By placing weight and pressure, through sponging, onto the legs the tension began to ease. Combing the legs made them feel elongated and I got a greater sense of the length of the leg from the hip bone down to my toes.
Contact Work
• Walking backwards/Running backwards and catching
• The element of surprise through the length and speed of running
• Trust in partner
• Awareness of 3D self when running backwards
• Upside down moment
• Keep a momentum happening
• Hands firmly on the ground, close to you
• Look behind you, not on the floor
• Pushing partners leg down to increase speed
Perching
• Knowing that perching doesn’t have to be a big movement, and that smaller options can be investigated
• Perching upwards and outwards
• To keep the movement flowing so that it builds up, falls down, crumbles and goes into different directions
Applying The Performance Mind
Section one
Talking and Walking
Form a clump and enter into the space
Change from walking and talking to moving into space and swapping
Energy speeds up
Running around each other 3 times and falling into a clump
Clump happens 3 times:
1st: 3 duets, any combination, therefore on the first go two people will be missing from the clump
2nd: Another duet takes place
3rd: Everyone but Julia who plays with the bouncy ball. That signals for us to arrive at the river-exists, entrances, hands on floor, hands in the air
Section Two
1. Sweep: Moving through the space
Come out into trio’s to perform the phrase
The sweep continues to move through performers
Group three has a clock rotation at either 45 or 180 degrees
2. Clump hovering-Rotate movement solo with Jen
3. Writer and Whisper-ends with bouncy ball trailing off
Clear the space
Talking and Walking
Form a clump and enter into the space
Change from walking and talking to moving into space and swapping
Energy speeds up
Running around each other 3 times and falling into a clump
Clump happens 3 times:
1st: 3 duets, any combination, therefore on the first go two people will be missing from the clump
2nd: Another duet takes place
3rd: Everyone but Julia who plays with the bouncy ball. That signals for us to arrive at the river-exists, entrances, hands on floor, hands in the air
Section Two
1. Sweep: Moving through the space
Come out into trio’s to perform the phrase
The sweep continues to move through performers
Group three has a clock rotation at either 45 or 180 degrees
2. Clump hovering-Rotate movement solo with Jen
3. Writer and Whisper-ends with bouncy ball trailing off
Clear the space
Dance Intensive-Day Two
Bouncy Ball Game
I found myself trying not to get other people’s eye attention when we first started throwing the balls as I didn’t feel confident enough that I would be able to catch them. When we took out the walk, I felt it easier to get into a rhythm and realised that the more open I allowed my body to be, the more space I used and the more available I made myself, the more confident I became.
Bouncy Ball Rhythm
Using my telephone number, I bounced the ball off the floor whilst having pauses in-between to create a rhythm. I also played with the idea of interrupting the ball from another person and travelling in space with the ball. I found it challenging to listen to the rhythm of my walking through space whilst trying to create an additional rhythm through bouncing the ball.
Walking and Talking Task
I felt really self-conscious as we had to move in between each other talking. It became apparent quite quickly that we were all talking at the same volume and pace which made it feel quite set and boring. We tried to challenge this by adding turns, talking about important issues and seeing the space.
I found myself trying not to get other people’s eye attention when we first started throwing the balls as I didn’t feel confident enough that I would be able to catch them. When we took out the walk, I felt it easier to get into a rhythm and realised that the more open I allowed my body to be, the more space I used and the more available I made myself, the more confident I became.
Bouncy Ball Rhythm
Using my telephone number, I bounced the ball off the floor whilst having pauses in-between to create a rhythm. I also played with the idea of interrupting the ball from another person and travelling in space with the ball. I found it challenging to listen to the rhythm of my walking through space whilst trying to create an additional rhythm through bouncing the ball.
Walking and Talking Task
I felt really self-conscious as we had to move in between each other talking. It became apparent quite quickly that we were all talking at the same volume and pace which made it feel quite set and boring. We tried to challenge this by adding turns, talking about important issues and seeing the space.
Tuesday, 6 March 2012
Dance Intensive-Day Two
Splitting the Phrase
1. Start to arm reach up
2. Pull back to yoga position
3. walk, walk to swinging arms as if cutting bushes
4. up/down movement to right hand on floor
5. Jump back to lie on floor
6. Swing leg over to the end
Repeat one section three times-section four
Hold one section for three seconds-section two
1. Start to arm reach up
2. Pull back to yoga position
3. walk, walk to swinging arms as if cutting bushes
4. up/down movement to right hand on floor
5. Jump back to lie on floor
6. Swing leg over to the end
Repeat one section three times-section four
Hold one section for three seconds-section two
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