Chapter Two – Approaching Freedom in Performance: Blind Dance

 

Today our goal was to deepen the yesterday experience of space and expression. The group arrival felt already done personally and also in the studio and Kulturhaus. The working philosophy was still in a forming state. The group building process had been beautifully done by Jürgen Genuit in France. So we met a group carrying a huge package of personal and artistic experiences, having done language work, improvisations in solo and group, playing with two poems and texts created by themselves. As facilitators for the German part of the project, Jungyeon and me are very much thankful for that and feel a deep validation for Jürgen’s amazing work in the first part of this project.
We focused on the topic

 

„Eye contact in performance work“.

The day was a beautiful example of „Laboratory work“. Through different aesthetic approaches we researched into the use of eyes concerning its impact on performer’s action and also on the resonance in the audience. In general we avoided in the feedback to get some truth (never forget the apfelmus…) fixed somehow. Whatever was said in the group sharing, we spoke with „I“, expressing ourselves in subjective and personal points of view. Interesting how much this change of „normal“ communication entered also into our way of communicating off stage. A small change with an amazing result for the whole living atmosphere…

Obviously the „Eye topic“ opened the door for sensitive and fragile experiences personally and aesthetically. In solo and duo work with „blind improvisation“ we researched into the change of action and perception of the outer world in relation to the performers’ feelings and the audience resonance. The task for the performers in entering the stage was to find an attitude which was as free of preconceptions and plans as possible and to begin a process of real creation. In fact the whole work is about this subject.

We discovered that it is one of our main goals for the preparation toward the final performance to find ways of connecting the performers’ inner world with the outside in a most enjoyable way. It should not be important whether the performer is acting with open or closed eyes, as far as the performer is able to avoid a „clash“ experience in the moment when „the two worlds“ meet… It seems to be related to the subject archetype: how to bring the players’ inner world on stage further, transformed by action and theme, so as to deliver a story of mankind beyond the personal story of the performer.

To keep it short, this intensive day ended up with a half an hour performance, of the group representing their experience in France. In the feedback sharing we took this as an invitation for the participants to share their personal stories. What did they bring as important material to Germany? The sharing appeared rich and personal. Stories of touching moments were told and these background stories shed a new light on the performance which had taken place. The performance itself as I witnessed was a collection of events and feelings expressed on stage that allowed a taste of what the group explored in Villandraut.

Thank you. dear guest of my Blog. We will meet tomorrow again in Chapter Three…!

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