Curling and uncurling: Starting in parallel I began to curl the spine, playing with different levels and sizes. I found new ways to melt into the ground and explore this further.
Axis:lying on the floor I slowly moved my head from side to side thinking about it moving from its axis. This lead me into rolling from side to side and onto my front again. Introducing the arms, I placed them in different positions and tried to position the legs onto the same axis. Took the idea of the axis creating a shadow with me as I moved.
Partner Graphic
1.My partner lifted my rib cage up as I leant backwards. Rising up of her knee, I began skating across the floor. I noticed that my feet didn't need to be positioned as far apart in order to travel across the floor.
2.As the rib cage was still being held up I found the pulse in my pelvis that took me in and out of the floor without my knees having to do the work. This lead onto small jumps across the floor and travelling whilst changing the direction of the pelvis.
3.Reminder of the three spheres-the skull, the rib cage and the pelvis
4.Swaying from side to side my partner created a figure of eight starting from the bottom of the feet. I moved on my own, with a strong focus on my pelvis than I normally do. I played with the size of the sways and tilted backwards and sidewards.
Wednesday, 14 March 2012
Leah's Workshop
Moving as we wanted to, I put a central focus on the feet and how I could move them. I played with the idea of them taking my whole body weight and creating different rhythms. From this I was able to come up with two different movement features. The first was playing with giving and taking weight off my hands and feet from a crouch position. The second was to sweep my feet against the floor, creating different sounds.
In the park we had to choose 5 different places of interest and observe how it influenced our moving.
1. Rocks next to the pond:They could take my weight in different ways. I played with dividing my body weight over more than one rock and observed which ones I trusted the most.
2. Trees:I investigated two different trees. The first was the smaller and thinner of the two. I leant against it and noticed how the bark on it was quite smooth. I didn't stay here for long as I felt it didn't have much of an impact on my movement. The second tree was a main feature of the park, as a result of its size. I used both the branches and the trunk to take my weight and found that I could explore this to a greater level than I could on the last tree.
3.Steps:Swaying from side to side, tilting, walking up them and down them. I was also able to play with the rhythms that I had created in the studio against the smooth stone.
4.Archway:I thought that the old archway refelcted the past of Coventry, whilst the new archway positioned above it was pointing towards the future of Coventry. I was able to sit in the archway as if I was part of its history.
In the park we had to choose 5 different places of interest and observe how it influenced our moving.
1. Rocks next to the pond:They could take my weight in different ways. I played with dividing my body weight over more than one rock and observed which ones I trusted the most.
2. Trees:I investigated two different trees. The first was the smaller and thinner of the two. I leant against it and noticed how the bark on it was quite smooth. I didn't stay here for long as I felt it didn't have much of an impact on my movement. The second tree was a main feature of the park, as a result of its size. I used both the branches and the trunk to take my weight and found that I could explore this to a greater level than I could on the last tree.
3.Steps:Swaying from side to side, tilting, walking up them and down them. I was also able to play with the rhythms that I had created in the studio against the smooth stone.
4.Archway:I thought that the old archway refelcted the past of Coventry, whilst the new archway positioned above it was pointing towards the future of Coventry. I was able to sit in the archway as if I was part of its history.
Friday, 9 March 2012
Unwritten Dance Press Release
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.
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.
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
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