Walking Piece

Working on "brushing" qualities: big, strong and deep. And in the same time challenging each other with different tongue twisters.

Still working on getting perfect mine - Plain bun. Plum bun. Bun without plum.
Please, give me Your feedback after watching this video.

Walking Piece

Here we working on building up speed with movements and words as well as keeping attention on objects inside and outside space.
Please, give me Your feedback after watching this video.

Walking Piece

First performance and I am still working on perfection :) Foot work where goal is perfect repetition in sequence, speed, and rhythm.
Please, give me Your feedback after watching this video.

"Walking Piece" - Let's start!

First performance done and one more to go this evening.
Today I am working on staying concentrated and involved. Working hard! :)
Come and see how am I doing! :)

Ready Steady& GO!

It's been a few weeks since I am back in University. Till now its been busy and very colorful beginning in all possible forms and meanings. This year has specific aroma of sweat from challenges and excitements.
Let me start from the beginning:

•  first of all, I joined yoga workshop on the summer, which lead to the teacher training. It means that my goal is to be come a yoga teacher. Maybe not this year, but definitely as soon as possible;
• secondly, as part of our Performance Project module I became a part of INFLUX dance company. One of the good news is that my wish became a truth ( once again ) and I am honored to work with Matthias Sperling. This module contains a lot of small and big challenges for me as person and human being as well as for me as dance student and future dancer and artist ( Please, fingers crossed for me! );
• and finally my personal goals and settings for year two after last year unsatisfactory marks, cause always I can do better  :) .

And just few words before I and You GO, continuous connection and dialogue with inner self is big piece of victory, my friend! ;)
My very best wishes to You and to Me as well,
X

End of the second term is coming

Just two weeks and end of the second term will be here. It is time to see, what is done and to what I should pay more attention. In todays Movement studies sessions task I opened doors to some benefits of my studies.

Feedback from observing duet

Work in progress session brought seeds - feedback from Anita, to make our work with Jen  excellent!

Feedback in dialogue form :)

Small conversation about our dance studies development in general, studio practice and work on duets. 

2 dancers = 1 duet

Starting to create a relationship with other person in work for duet is exciting process in deep tunnel with light in the end. Light in this situation for me means fear free space with sensing each other.

These notes were my ice breakers :)

Rehearsals are important part of my dance life :)

This is my first rehearsal video for solo assessment on 16th December 2010 ( as you can notice my ability to feel time can shifts :) ) In video I am working of idea of early morning, softness in joints, curling and uncurling as deep breath before start a day.

Add caption

Thanks to my sweet colleagues, who were ready to help me and left feedback after.

Each day I like you more and more :)

My understanding and interest about scores keeps growing. And I am so excited to get to know more possibilities of it. Hopefully this LOVE of shapes and lines will be useful :)
Video from Improvisation class, where dancers : Greta, Ioana, Oana, Wunmi are embodying my score of simple movements - walking, running, rolling on the floor. I left them free space to explore their own way of doing that.

and my score as well

Math for dancing performance!?

Final point of research and starting point of duet performance.
Question - How can 1 be equal 2?
Answer - Easily, even maths theory can prove that.
Magic of 2 in 1 is never-ending sequence, from shampoo with conditioner in one bottle till soul and body in one human.
And everyone will be treated in the same way - two people is one duet.
This is link to become familiar with scientific basis.
http://www.jimloy.com/algebra/two.htm

score

Choreography session - discovering possibilities of noticing movements. This session was unique, because finally I started to get and define, what is score and how it can work for me.

Playing in studio

Responsibilty

If we just imagine ideal world, where choreographer can accurately deliver his idea to audience.  How big or small responsibility relies on audience to understand idea of performance? Is it active way to see or audience is feed by choreographer?
And as we know that this world can't be ideal, because we do not have instrument to make it perfect. Creation of other understanding of audience is witnessing. It means active form of being present.
Should we stick to title audience or try to change it to witnessing?
And how it can work out?
The last question is more addressed to artists and students of all kinds of art. We are learned to take art in active form trough all senses. Trough all learning process students are trying to reach one of the goals to stay active in seeing, to be witnesses.
However, how it is with others, for whom it is created ( of course, if it is created  for some one :) ), are they ready to stay active and to take responsibility for that?

 Reference
Preston, D. (1998)., Looking at Dances, UK: Verve Publishing

How worth is pain?

"For Pina Bausch pain is the corollary of living, loving and desire." (Horsday, 78)
My question is - How worth is pain for you ?
How worth it is for your personality and for your professional being on the stage, wherever and whatever is your stage of carrier.
And are there any categories for pain?

Observations of Two Quartets (Siobhan Davis)

Two Quartets is work in two parts, which are made in collaboration with fashion designer Jonathan Sounders. Both parts were made to be seen as one work and they are danced in quartets.

In the first quartet stage is bare and white in contrast with black surrounding. And the lightening of stage creates different relationships and textures of contrast.

The same color principle is used in dancers costumes. They are dressed in black and white colors, which can be combine to create visual image of duet. For example, both males costumes creates visual image of one black or white costume and in the same way works costumes of females.

In the all first quartet dancers work very close to each other as they are making continuous line of circle. There is change of speed and levels, from fast to moments of stillness and from high to middle level of movements. The main language of movements shifts from running, tripping, turning to walking and posing.

In contrast to the first quartet, in the second quartet is clearly seen the distance between dancers. Because during the whole part dancers are working separately. And even if on the stage are more then one dancer, they stay asunder. It seems more like two separate solos than a duet.

In the choreography is used changing of levels and dynamics, and repetition of movements in different directions. However, in the second quartet is used more contact with floor and voice of dancer, which is not used in first quartet.

Another difference between quartets is costumes of dancers. They are dressed in different colors, more to black and white is added red.

There is also difference in stage design. It isn't bare, but it is cleaved to four pieces by white walls. Trough all piece they are changing from flashy white to transparent. These changes create new visual images of stage.

This experience of observing gave me chance to realize that one piece of work can be created in two different ways, but in the same time. 

On the way to "With Myself"

For me always actual was self-observation and self-explination. In that work I am searching for inner space, where I can be hones with my self and separate from the other world.

This work is questioner  or shifting between questions and answers. it is moment before formulation. It is recognitions, when you can feel question or sense about something unknown and exiting, which is  arising from unconsciousness.

Idea for solo came from my personal diary and it was the easiest part from this work. And as it usually happens idea formed from insight, which happened with me in one of the first choreography sessions.

However, the hardest part was transition from idea to a real practical work.

Frist of all, to begin my practice I stared with library, when I made research and found excellent book - A Choreographer's Handbook written by Jonathan Burrows. it was my assistant and my support to keep working on the solo, especially in moments, when I stuck. And that kind of moments was a lot. But how I  found for myself before - only difficulties are encouraging growth.

Following part was start to work in studio and how I wrote previous, spring-broad was sequence from choreography session.

Play with movements and exploration of movements was another challenge for me. To let go, was my thought, but how. And answer to this question I found in one of Placing for Practice in Context sessions. It was definition of Modernity - art for art itself and movement for movement itself.

PDP project encouraged me to start filming and noticing, what I am doing in studio for solo assessment. And it helped to notice, how I develop my work.

For development very helpful were opinions from others, which was given  in choreography sessions and  in studio rehearsals. I also notice that working with others, for example the studio booking with course-mates, is good way how to move and keep going.

In general, working on solo was tough and painful challenge for my, which stared to build up my consciousness, what it means to be an artist and what is dance as an art form.

From self-observation and many dialogs with my self, I found out that morning and evening, especially moments before total awakens or unconsciousness, is my time. Time, when I want to be with my self , separate from society, and at the same time with out filing of loneliness.

Solo performance "With My Self" 15.12.2010