This project has been made possible by a grant from the Creative Arts Council of Brown University.

Thursday, December 15, 2011

Dancer response #1

Because we had not rehearsed the piece as a whole (that is through its 3 repetitions) until the day of the performance it gave an interesting liveness to intention in my own movement. I had never created a model to work towards but just fell in with what was there. The tension in my torso, the pace of my breath, the force in my legs changed every time (through the 6 repetitions of each day). Allowing for such un-predetermined shifts equally allowed my mind to wander: I could just be sitting on the steps looking over those people (the audience) staring at me instead of trying to look past them; think of the work i had to do the next day and miss my cue. I had a wonderful experience of straddling the edge of a rehearsed work and the very nowness of a performed one; which I believe is most suitable for sitting on a portico between an unused and inaccessible past (the arcade) and a trafficked and passing present (the street).

Photo by Seung Chan Lim

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