Chapter three- Mouth and other sensations!

„The greatest music cannot be heard. The greatest form has no shape.“


To be clear in focus, action and expression should be easy. Cats can do it. And not only cats. Personally I love to be with animals because of their clarity and direct communication. In my perception they are often great teachers without intending to teach, especially for these strange
monkeys with complex brain called „human“…

Anyway the third day was intended to complete somehow the first part of our foolish journey by arriving in an holistic sense personally, group wise and working wise. We chose to have an afternoon off on Sunday, therefore it felt natural to experience the „peak“ until Saturday evening and the fading out on Sunday morning to open the (needed) break.
It might sound „foolish“ to be in a project called „Je ne cherche rien…“: I am looking for nothing! But this is exactly what we are heading for. Feeling rooted in a sense of connection is in my perception a sign that I have arrived somehow. I have achieved a certain orientation and am able to sense my inner „I“s talking and expressing, so that I can make choices by communicating with the outer world. And at the same time I have a clear „gut“ feeling, I am aware which „I“ needs which space and wants to be expressed.

Having arrived is a foundation for the taking over as group and as individuals, because how shall I take over the process (especially in a performative process) when I still feel somewhere else? And if the challenge is to face the unknown territory of the „Empty Space“, understanding that the act of creation in the Empty Space is based on BEING IN THE MOMENT? That’s why we took consciously four days as the time for arrival, and our effort as facilitators was on setting up a structure which offers individual approach toward creativity, development and growth.

WIEBKE DRÖGE wrote in her report:
Bevor Form entseht – Entsichern und Begleiten in der Choreografiearbeit:
„Das Taking -over der Schüler ist ein zentrales Anliegen, weil es ein Widerspruch in der Art eines double binds wäre, das kreative Handeln anderer in den eigenen Händen zu kontrollierend festzuklammern. Es bedarf einer intensiveren Herleitung und Analyse dieses Aspekts, um das darin liegende besondere Bildungsphänomen und Choreographenbild abzuleiten. Darauf muss in diesem Zusammenhang verzichtet werden.
In Kürze: Das Taking – over zeigt m.E. die Krönung eines kreativen Prozesses. Es ist dem Stück und den Tänzern anzusehen, ob diese Übernahme stattgefunden hat oder nicht. Dieser Prozess ist nicht didaktisierbar, sondern wirkt sinnbildlich wie ein sensibles Gummiband zwischen Choreographin und Schüler.“

In my opinion, following the idea of KULTURELLE BILDUNG this should be the central aspect of the pedagogic philosophy in such processes.

The morning started by deepening the SPACE WORK from the first morning. We set a 60 minute time boundary and encouraged the participants to use the time individually following their own paths in this experience. We pointed out the difference between letting my mind direct my body or the other way around and that they shall be conscious about the fact that they are the creator of their own movement, action and expression, while being in the moment.

Mouth experience


In the afternoon we went further by adding sound and language. The group started experiencing the work in form of exercises, and later as the final part of the afternoon they did solo performances including sounding, speaking (also in French and German) and moving. Jungyeon introduced the work as „mouth experience“ and related the sensations of sounding and speaking to the body and movement. This research opened the door for surprising and funny moments of expression.


Performing, ready for performing or being audience/observer

The evening was planed for having a half an hour performance. We developed the form by marking three spaces for the group to stay optionally during the laboratory work:


The idea behind was to train the individual players conciousness about the current state when he or she is on stage. What is the current state in a particular moment? As a performer, do I feel needed having a „motive“ to stay on stage (being „in“ the moment)? Or do I feel ready to perform as a player (not having a strong pull on scene yet), waiting for „a call“ from the scene that is happening at the moment? Or do I feel lost on stage, starting observing (as an audience) me and the other players from an outside view?

So the performers were asked to do ongoing choices in a playful way to change the position from audience space (marked area in front of the stage) toward the performer space (marked area close to the stage) or the performing space (the stage).

All about attitude

So in a first approach they should get a feeling where they are as player and sense the difference. We wanted them to accept that there will be always natural changes happening in the process of performance concerning the content development the same as the players individual state. From this understanding we shared about the options how to deal with the three so called „masks“: feeling more audience, player or performer.

In a second experience they should be able to work on their attitude. Accepting what is and feeling able to change by making choices such as

  • allowing myself to leave the stage;
  • allowing myself to enter the stage;
  • allowing myself to wait before entering the stage to let other players develop an action;
  • allowing to support a scene by for example doing copy dance or atmosphere;
  • allowing myself to be separated in a solo moment while others are creating a parallel scene;
  • allowing myself to feel sometimes lost and to play with this by starting a new expressive process of development or leaving the stage without feeling frustrated
  • using the commentary line to express the players or the figures point of view by communicating directly with the audience

For some players it was an „eye opening“ experience and also great fun for everybody, which was also expressed by the group in the closing feedback circle. One performer mentioned: „I feel like after having the first night with my first love…“

As facilitators we were amazed how they performed playing comedy and tragedy…

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