Tuesday Morning 1.11.17

Syntax review:

• Relational, relativity
• Delivery: “[syntax] doesn’t exist without something to say”
• “Cut to the chase”
• Boldness to distinct actions, directness of speaking
• A sense of “welling up”
• Vulnerability
• Tré/Michelle, Sarah/Darrell, Sarah/Angie
• Paying attention to the invitation to join and the invitation to leave

Syntax duets, distinct beginning and end:

• Angie/Darrell, Tré/Sarah, Tré/Darrell, Sarah/Michelle
  • Closing the space between people
  • Taking away the “and”; less “twining and untwining”
  • The “architecture of weight”
  • A sense that the expression is going to land somewhere
  • “Speakage”
• Sarah/Angie, Tré/Darrell, Angie/Michelle
  • Following touch
  • Bending the form
  • Reading the literal
  • The closing of “chunky time”; compression + expansion + residue
  • The connection is not simply spatial, but fueled by other off-kilter “somethings”
  • Not about the dance of how these things come about—get to The Things
  • Connection between readability and duration
• Tré/Angie, Michelle/Darrell, Angie/Michelle, Darrell/Bronwen, Sarah/Tré, Angie/Darrell, Sarah/Bronwen
  • Focus
    • “I am the reference”
  • “Bypassing”
  • “Carriage of connection”—states within the carriage
  • “Telling”

Capturing relationships/furthering duet moments:

• All
• Finding relationships where “telling” is very clear and staying with this
• Similar to “tango” (i.e. inventory of specific intentions, attentions, relationships, etc. so it is repeatable)

Tuesday Afternoon 1.11.17

Revisiting “Joanna” material; Joanna quartets:

• Bebe/Tré/Michelle/Darrell, Angie/Sarah/Bronwen/Michelle
  • Creates “rhythmic something”
  • Amplification
  • Directness that is very readable
  • Gets big fast
  • Movement tending to come back on itself, encouraging a shift/finding new solutions
  • “Yes, this is it.”
• Bebe/Darrell/Michelle/Angie
  • When it’s not working, returned to “yes, this is it”; conveyer belt of yes
  • “NO MOVES”; what is the physicality of “no moves”
  • With an intention that feels like “moves”
  • Heart, brain, face emphasis as a result

No Moves trios:

•  Bronwen/Tré/Sarah/Bebe, Darrell/Angie/Michelle
  • Lives on a spectrum between the human and physical, and where it is on the spectrum depends on viewer
  • Possibility for different focal lengths as another way in
  • The dance is in the frame of the group and the frame of the space
  • Undoing the face; dance in the rest of the body
  • Meditative quality
  • Interior landscapes, feeling, senses
  • Physicality of this goes past comfort into a different kind of intimacy
  • Very personal moments carry a history and the dance becomes about that
• Tré/Bronwen/Angie, Michelle/Darrell/Sarah, Bebe/Sarah/Angie
  • Introducing the idea of RELEASING INTO RISK
    • Brings up the question: for the sake of what? What is the “tell”?
    • Sense of slipping around tableau
    • Getting caught in the “it is, it is, it is”; keeps re-being itself
    • Being attentive to self and The Thing without trying to create
      • Being flexible to own attention, not worrying too much about The Thing
    • “Wonderland” quality
    • “Slipping icons” and completing something for oneself
    • Trying to move with the idea of “this is not a move”
    • Testing being apart
    • Putting the weight at risk in some way and dealing with that instead of “making”

Final thought: “finding a form we don’t recognize yet”