Monday Night Improvisation.

Went to an improv class last night hosted by Independent Dance @ Siobhan Davies Studios in Elephant & Castle. Wow! Gorgeous space and I found the workshop incredibly useful and productive. I'm definitely going to make this a regular activity.

The class features a different instructor each week, so I will get exposed to different dancers/movers ideas for improvisational movement. Just what I need!!!! This week the instructor was Marie-Gabrielle Rotie. Her name has popped up a bunch when I was searching for Butoh classes in London, so I was curious to experience a workshop with her.

A little recap of what we did:

The idea was to create movement "scores" from existing visual material to get ideas flowing and a sense of poetry to give us some phrases to keep in mind as we moved.

- instructor passed out postcards of painting to each of us.
- we spent some time looking at them and then performed a 12-15 minute improvisation based on our observations, however abstract that ended up being.
- our partners then performed a 5-6 min improv based on what they observed from ours.
- we then spent about 5 minutes writing down what we saw to create a sort of score
- discussed our scores
- performed a duet based on scores, observations, and the original painting

Here are the scores we wrote for each painting

#1 - surreal painting with 2 girls (one with very weedlike hair standing straight up on end) standing on a landing in a house with a very large sunflower draped on a staircase sorry I didn't mark down the titles of the paintings...

Partner's score:
Reaching, reaching up
Spiral & sway
Pulled off centre
Pieces torn off
Still the impulse to rise

My Score:
1) A plant/human awakening
2) spiraling, the fluid gravity defying plant hair
3) feeling the energy source above as it gets warmer
4) the leaves stretch & spiral out towards the energy source into the space
5) spurts of energy from outside back in
6) always aware of the warmth above and your roots growing down, 2) and 3)
7) human/plant hybrid reveling in the warm silt that you're grown out of
8) pleasing across your leaves/skin as you wallow in it
9) ALWAYS RETURN TO 6) out, 2) and 3)

The Duet
- We ended up becoming this single entity that was growing and spiraling up, out, lots of swirly arm movements! We started with our backs to each other and I really loved how we were able to start moving together because I could feel his shoulder blades on my back as he started to raise his arms and do the spiral gestures with them. Was a great way to cue without having to look at each other. We also realized before the duet that we had had similar experiences of the painting, so it was quite easy to stay cohesive with our movements. Of course, there were times when we crashed into each other unpleasantly, but I felt like those were surprisingly few considering we had never met, let alone danced together before.

Painting #2: a nativity scene from the Uffizi gallery complete with angels, shepherds and the blinding light surrounding the wee baby Jesus & Mary (oh and Joseph too, I guess, kinda...) I walked away from this painting focussing on this tumbling S shape that the angels and shepherd's bodies made down the left side of the painting towards the baby. The all had fairly strong gestures with their left hands, but odd expressions on their faces. Including the baby! All of the characters had very "real" and not terribly "awestruck at the holiness" look on their faces.

My Score:
the angel floating
What am I doing here?

the man gazing down
What am I doing here?

the baby looking up
What are they doing here?

the left hand
surprised
covetous
caressing
blessing

My partner's score:
Changing perspectives
Changes of emotions
Movement between stillness

The Duet
Ended up being a serious of poses/tableau style with mostly gentle movement in between. Not always synchronous, sometimes building on the other person's pose. Facial expressions and hand gestures were the emphasis. As we moved to poses, our relationship to each other shifted. Sometimes we were 2 disconnected characters reacting in our own way to "the baby." Sometimes one of us was the baby and there were strong moments in these phases where the other person's hand was closing in on the baby, sometimes gentle, sometimes menacing. And there were times when we were a unit outside gazing at the baby. Some of these were funny even since there was one guy front and center who had this really amused, jovial "hey guys! check this kid out! Son of a gun!" kind of look on his fave.

Other notes, impressions
I was really skeptical of being able to come up with anything out of my painting because of all the loaded symbolism of the nativity scene, but we were both really satisfied with the final result. And of course, I enjoyed shifting from one character and perspective to another. :) Also useful and interesting to experiment with conveying multiple perspectives in a piece with just my body and my gestures/expressions.

I found it extremely useful to observe the other person's movement and then experience for myself what I had seen. For example, I noticed something I hadn't really considered in my partner: he had this really strong vertical focus to his movement, even when he was moving quite dramatically from side to side. I read in his movement a consciousness of an energy source above and feet/roots growing into the earth. And a spiraling movement. Was really cool to experience what it felt like to have that vertical focus even when moving sideways.

This technique seemed to produce some very workable results quickly. I was thinking of doing something similar with songs in sketches of my own seeing how it would get more abstract and more "my own" the further away from the song I got alternating between sound and movement phases. Now I will definitely play with that.

I loved the implied plant/human hybrid of the first piece since I've been thinking so much about the blurring of borders between machine & human as I related to my video camera in new ways. To play with another hybrid, cyborg idea was great fun and relevant.

While this class was only tangentially related to Butoh, I noticed a thread with the other specifically Butoh class I took: this notion of having an image in mind as you create movement (like the plant/hybrid with crazy weed hair.) It doesn't really matter if the specificity of it comes across, but it is a great way to give some purpose to the performer's movement and stay interested in what you're doing.

I have a crazy vivid imagination that will just go and go and go when I let it. I must must must remember this always when I'm performing!

free association