As a lead up to our upcoming performances we focussed on beginnings and endings today.
Starting with the voice we entered the space, built up a clear soundscape score/musical structure, let it crescendo or not, finding the end together and leaving the space together. We practiced this several times before letting the body come in or influence the sounds. When it came in by accident or design we let it happen. Gradually more body came in.
Notes: to give silence its place, stick with a clear rhythm or sound when starting so we know where you are and can build on that base (stick to your own "instrument" in the orchestra, not changing from one to the other unless we can clearly notice that your "instrument" is made up of constant change), we can be the same "instrument" as another person to reinforce them.
Yoann was interested to see what would happen if we continued after the "end" of a beginning, passing through the unknown "searching" to find a new soundscape or focus. We tried 15mins and found that it had quite a different quality, was a little scary for some to be lost.
Notes: when you don't know what to do just listen, do nothing or leave if you zone out.
Next we did the same as beginning but only with movement. We found it much harder to "listen" to the rhythms proposed. Manipulation & physical contact started happening a lot naturally so we really went with it at times.
Notes: thinking about timing (at same time as someone, before or after) helps; we have a "default setting" in terms of timing as a group ie. fast- be aware of this so we don't fall into the trap every time.
We also practiced being in the space to start, being still for a long time before moving or sounding (to practice for beginning in Beurs). This was very hard for Yo & Agos, so we practiced some more! It seemed to build a good energy between us to start the piece.
If anyone wants to fill in possible gaps in this info please go ahead! I think it's important to keep documenting our practice for the ones who cannot be there, and our 3 followers, including Kristian in NZ! Maybe you'll meet him one day...I played in a studio with him while in NZ which was loads of fun. We have a lot in common, including work with Julyen. I'll fill you in our our practice session later when I'm over jetlag!
Tuesday, April 13, 2010
Monday, March 15, 2010
Hello!
Your are kindly welcome to the premiere of the film "Echoes of Uncertainty" that will take place in Beursschouwburg!
SoloConversations Dance Collective has performed in the film.
We hope to meet you there!
17/03/2010 - 27/03/2010
EXPO
KATRIN LOCK & TIM BROTHERTON
ECHOES OF UNCERTAINTY - vernissage 19:00!
dans le cadre de
ON Y DANSE TOUT EN ROND - Festival de la confusion
Thursday, January 14, 2010
"Soloconversations dance collective in Buenos Aires"
Link fotos last performance Soloconversations in Buenos Aires
Friday, November 13, 2009
Charleroi Danses Biennale09
27/11 18:00 - 20:30 - 21:45
La Raffinerie
Rue de Manchester 21, 1080/ BXL
Free entrance - welcome!
Friday, October 23, 2009
Last Wednesday
First conclusion: we need to work on how to articulate and project our sounds, words etc...
Boris started with Barbie at his house, then we continued with Susanne on Wed.
What we did: with Barbie basically we listened to the other person, that was the main idea.
Last Wednesday:
- we did exercises to relax the mouth and the body so we could articulate easily.
-We gave ourselves the time to produce sound until we felt confident enough to also produce words. Then the idea was being conscious about where you are in the space when you produce a sound or a word.
- After that: we produced a stream of words (stream of consciousness style, 20-30 words) with out thinking, trying to be as neutral with the voice as possible, not moving.
We were trying not to have connections between the words, but of course sometimes they happen. It gave more emphasis to the rhythm of the words than the meaning - like in poetry, hip hop rhyming etc.
- We noticed: that when you produce words one after the other there is a tendency to talk about a topic, saying words in relation to a subject. We repeat certain words - everyone repeats different ones. We often start a series of words with the same letter, or finish a series of words with the same ending - eg. repetition, addition, abstraction. Words are produced in relation to the action you are doing or in relation to the space around you.
- Mostly we did solos, and then duets - always having someone watching for feedback.
- We didn't get around to the projecting part, that will be for the next sessions, but it also happened that we projected more and more during the session.
- We also talked about being ecological with our performing. Not throwing something away quickly, but developing it until the connection/scene finds its own end.
Boris started with Barbie at his house, then we continued with Susanne on Wed.
What we did: with Barbie basically we listened to the other person, that was the main idea.
Last Wednesday:
- we did exercises to relax the mouth and the body so we could articulate easily.
-We gave ourselves the time to produce sound until we felt confident enough to also produce words. Then the idea was being conscious about where you are in the space when you produce a sound or a word.
- After that: we produced a stream of words (stream of consciousness style, 20-30 words) with out thinking, trying to be as neutral with the voice as possible, not moving.
We were trying not to have connections between the words, but of course sometimes they happen. It gave more emphasis to the rhythm of the words than the meaning - like in poetry, hip hop rhyming etc.
- We noticed: that when you produce words one after the other there is a tendency to talk about a topic, saying words in relation to a subject. We repeat certain words - everyone repeats different ones. We often start a series of words with the same letter, or finish a series of words with the same ending - eg. repetition, addition, abstraction. Words are produced in relation to the action you are doing or in relation to the space around you.
- Mostly we did solos, and then duets - always having someone watching for feedback.
- We didn't get around to the projecting part, that will be for the next sessions, but it also happened that we projected more and more during the session.
- We also talked about being ecological with our performing. Not throwing something away quickly, but developing it until the connection/scene finds its own end.
Monday, October 19, 2009
Keep the channel open- Martha Graham
According to Agnes de Mille: "I was bewildered and worried that my entire scale of values was untrustworthy. ... I confessed that I had a burning desire to be excellent, but no faith that I could be.
Martha said to me, very quietly:
"There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ..."
from The Life and Work of Martha Graham
Martha said to me, very quietly:
"There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ..."
from The Life and Work of Martha Graham
Monday, October 5, 2009
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