Last week I spent 6 hours in rehearsal on my solo. When warming myself up, I've begun talking through my class out loud, this has allowed me time to get my words in order to describe the class as well as really understand what I need to be ready to do my movement.
I applied for two more residencies this week. This really allowed me to get my written words in order and articulate verbally what I'm interested in experimenting in as well as where it might lead. In addition, I noticed that clarifying things in writing allowed me to also clarify what I am trying to achieve physically.
I've been exploring the improvisation or possibly zooming in to the articulation of joints as you execute movements. I was reminded yesterday of Steve Paxton's standing "small dance
." I think this is a similar concept but instead of noticing the small dance that happens when standing, noticing the small dance that happens underneath the large dance. I am really interested in embracing these articulations and making this process visible by experimenting with magnifying the articulations so they are large enough to see. Embracing seems to be the key word lately. Instead of challenging my habits, I'm embracing them. Instead of being hard on myself for not executing the exact move (this is a hard one), finding a "small dance" improvisation out of the "problem" and possibly creating an even more interesting or physically extraordinary outcome.
For the past year, Adele has begun to encourage us to watch and take in the outside stimuli we see in rehearsals and performance and embrace the effects it has on our movement. She is very interested in seeing people, us being ourselves and this is how we are achieving that. After experimenting with this for a year, my performance and confidence has improved by just embracing what happens in the moment. I'm interested in going even further by executing set choreography and embracing all the outside stimuli and then going even further to recognize those small joint articulations and possibly magnify them to create a different quality and aesthetic outcome. I think it is a balance, like a string pulling your consciousness and concentration in different directions. You have to execute 'x' move, while receiving stimuli visually/auditorally and zoom into these articulations. But this isn't a piece, this is just a physical exploration.
So, in order to make a work combining these explorations with additional visual and thematic stimuli (music, projections, etc.). Perhaps these "conversations with myself" are what make me visualize the projections. I often see memories and flashes of images when I dance. Can I log these visuals and use them to create the projections. If an audience is present, do I still see images? Can a musician work with me in the same way to create music from this set dance score and then find those same subtle articulations within the movement. Can I make a work that genuinely blooms out of the dance, the need to communicate physically? We will see. :)