16/11/2020

Notes of the day

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Study of 3 gestures.

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"The jaw speaker" (1)

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Left hand tensed, weighted,
pressed on the jaw,
same eye is escaping,
solar plexus descended, a bit empty,

frontal gesture, head towards the hand on the jaw,

the waist goes a bit to the right, could be a reaction of the elbows?

feels as if the back of the neck is lifted and dropped/weighted on the hand.

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Hand-jaw conversation!

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First physical taste:

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-Eyes hold a lot of meaning, they give direction, right arm speaking, creating emotional response in the rest of the body, 

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-Intense upper part of the torso, solar plexus feels like if the light is switched off, and the legs accommodate to this situation.

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​-Feeling:

"blocked throat", "cant speak out".

"blocked hips", "can't move".

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"Marco" (5)

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Very straight body,
a bit tilted head,
right arm very talkative,
most important:
arm and body are parallel,
they create space,
right leg slightly forward,
hidden elbow,
neck pulls one way, trapezius the other way,

body is far away so neck can be free,

lower body parts less important,

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Gloriously agitated!

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"Dancing Gypsy" (18)

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Less static than the other two,
less internal tension on the extremities, also more juicy,
powerful in the core,
colours are spread and around,
arms band,
hands as if making a clap in the air, festive dancing,
left leg lifted, hip tilted up,
wants to jump, to turn,
potential to give to space.

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Maybe one here is the hip,

...as Luka says, “she is flirting a bit”.

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Task

 

Think about paths and inner connections whilst DOING, HOLDING and UN-DOING the gesture.

 

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Focus on DURATION

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Physical taste from practising "do", "hold", "undo" exercise

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Impulse take you in, less formative.
Slow and holding seems strange, feels like if right now does not correspond with the pose.

Intuitive.
Keeping the pose more truthfully.

Is important to keep the impulse.

Wants to jump, turn, and has the potential to give in to the space.​

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Test with gesture "The jaw speaker" (1):

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slow “doing”, slow holding”, fast “undoing”:                         Freedom

fast “doing”, slow “holding”, slow “undoing”:             Less informative  fast “doing”, fast “holding”, fast “undoing”:       Immediate repetition

slow “doing”, fast “holding”, fast “undoing”:                               Nice!

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Note: when it goes faster the body becomes regular,

how to avoid?

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Test with gesture "Marco" (5):

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low “doing”, slow holding”, fast “undoing”:                                 Nice

fast “doing”, slow “holding”, slow “undoing”:           Almost impossible

fast “doing”, fast “holding”, fast “undoing”:        Immediate repetition

slow “doing”, fast “holding”, fast “undoing”:                    Also strange

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Note: when is fast “doing”, the bottom of the scull and the hand have to meet.

Note: playing with linear shapes, releasing for a loose transition. Also in the space.​​​​

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It was very easy to start exploring, and each time there was some deeper understanding of the posture. In the last hour though, I felt I lost some intention/tension in different body parts. But i think this its normal, since I repeated many times and also there was a lot information I was trying to consider.

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Task (series of gestures)

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Make your own working SCORE test with 3 gestures: 1, 2 and 3. Decide an order for the gestures, trying to make 9 sets of 3. We will move from one to the next repeating these actions:

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"do" the gesture

"hold" the gesture

"undo" the gesture.

 

Think physically, practice on repetition. Every time you repeat a gesture, it might go a little further on the space. Occupy the immediate space around you. Reach, create distance between the different parts of the body. Connect them, travel through the inner connections.​ 

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Think about the DURATION of these physical actions. 

 

Variation

 

Every time you "do" the gesture you can change DIRECTION. For this you have these 2 options:

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-change THE BODY-GESTURE direction "on the spot".

-change the body-gesture direction "stepping away" from the spot.

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17/11/2020

Notes of the day

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First approach to SCORE:

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1: “The jaw speaker” (1)

2: Marco” (5)
3: “Dancing gypsy” (18)

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1,3,3 2,1,1 1,2,2 2,2,3 3,3,3 1,1,1 3,3,2 2,2,3 1,3,2​​​​

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On 1: maybe an emotion, an impulse, in the centre. This will allow to enter fast on the gesture. In the centre, sinking, moving to the right, this now connects the right arm.

When one thing drops, everything drops.
If the centre closes, communication doesn’t happen.

Un-able to exchange.

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For 2: pelvis shift to the right, drops and shift to the front-left.
Where is 1 here? Maybe on the right arm we don’t see. Hidden intention.

In transformation, doesn’t make sense to have lower arm as a unit from its original place. Easier to loose form once it goes faster.

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On 3: Even when I know the path which works, when I do it fully I lose focus on the actual gesture.

Turns. If you want to push the leg, you have to get on top of it.
When the body twist too much, weight goes towards the leg in the centre. Right leg really push from the floor. I need to go back to jumping, the weight has to shift to the right side of the pelvis.

 

How to stretch the impulse to go slow?
 

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FREE, BUT NOT LOOSE

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18/11/2020

Notes of the day

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Early morning group discussion

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Are we "walking" or "dancing" to the next gesture?

Are we simply "moving" into it?

What is transition and what is gesture?

Decision making.

Continuity 1 Fragmentation. How much you let go?

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SCORE proposal for study:

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1,3,3        hold-stay

2,1,1         walk forward

1,2,2        fast

2,2,3

3,3,3.      around

1,3,3         stay

              drop

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              struggle 

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              re-enter

1,2,2.       re-stablish

 

              reduce

 

             show the hidden parts

2,2,3

3,3,3

1,1,1

              how to make it happen during                     3?, intention for 3 goes?

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3,3,2

             soften

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1,2,3

             stay, only shifting weight

2,2,1       play to shift the pelvis with                          rooted feet

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1,2,2​

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Feels interesting in dynamics, maybe still dry?

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On moving from one gesture to the next. When does one state becomes the other? Which is the “in between” state?

Sometimes going to neutral.

Transition becomes more interesting,

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2 transitioning ways:

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​​360` Exercise.

 

Mind-body connection

Observing-listening-realigning

 

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Completely lost sense of time after 3 minutes within the exercise.

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-Not even half way through, head-eyes wanted to start turning firs, whilst feet where kind of stuck and didn’t want to follow.

-When doing it slowly, quality of head and feet motion becomes the same.
-Quality of the gaze can change an entire internal physical structure. Sense of familiarity when coming back around.

-I think is fine to keep the body aligned with the head, but in order to shift, one side of the pelvis takes more weight, in order to allow the torso to stay in the centrer.
-Extremely difficult to do it in one leg (Dancing gypsy).

-You need to insist in an expanded inner space.
-Strange/new sounds appear in the body (like some tiny fragments goes in alignment).

-Sometimes it feels like if the space is turning, not me!

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Adding the BEAT

 

Feels as if the sound becomes a "story teller". The body exists within that story, but also carries its own story. Sometimes they meet (sound and body), and then the silences between the beats have an effect on the body. Maybe sound initiate and when they meet in time, then, they strengthen each other.

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Other times the body exists independent from the sound.

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PARALLELL

UNIVERSES

 

 

 

19/11/2020

Notes of the day

 

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Early morning group discussion

 

MOVING and PLACING, making sense.

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Today we are going to focus on PATHS and SPACE. Try to make your own map on the floor, where would you place yourself next? You can practice on thinking, imagining, the physical path you will follow when moving out of your gesture into the next. Is there form?, energy impulse?, physical quality?, texture?, tension?, clarity?, and which kind?

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Try to work on a fixed score, this will give you a good guideline to follow.. Two concepts may come up: CHANGE and SPEED.

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Walking the space, finding places. Feet, legs, well rooted on the floor, solid. Giving stability and positioning. Practice the strength of the roots.

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In conversation with Blanca

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How to really feel the weight of the pelvis?

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Feel the weight of the pelvis, and the weight of the spine away from your centre. It will keep you rooted and aware of the rest of your body. If you lose this awareness, arms might start going solo.

Find the sequence of subtle changes which you can follow.

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We see how it goes today, and what will be needed for tomorrow.

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Thought

 

PELVIS. For me the pelvis represents instinct, animal drive, primary emotion. Is seen as a place of stability, but when you soften it, identity dissolves a bit.

 

 

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20/11/2020

Notes of the day

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​Set the score (mix of Tuesday-Wednesday) and bring pelvis as main space-shifter.

 

THINK PHYSICAL

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SCORE test:

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2,3,2 2,1,2 1,2,3 1,2,3 3,1,2 1,2,1 2,1,2 2,1,2 1,3,3

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PELVIS focus, softens the body. Less emotional resistance. Feels more free. Movement becomes more connected when emotional states are less present (maybe there are hinted, but the body does not suffer as it did before).

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Path for the pelvis: SIDE

  DOWN

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MAPS

 

 

 

 

 

 

 

 

 

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I see the feedback I receive always give new options. You have an embodied way of moving, sensing, relating to space, and Blanca reminds you of that and offers an opposite or different way.

 

New options bring joy and good feeling that there are lots of things you can choose from as you build up the score.

 

Knowing or understanding something doesn’t mean its already in the body. Sometimes yes, but in many cases the body needs time to practice, understand and build connections.​​​

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Decision making, continuity, fragmentation, how much you let go? Sense of having conflict here, between being loyal to the structure (score, paths, intention) and going where the body wants to go. I am afraid I move too far from structure.

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Rational - irrational thinking.

Impulse - ratio.

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Do I break the impulse to feet into the set structure?​​

Do I lose myself in the PLEASURE OF MOVEMENT?

 

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Letting go control, or maybe control on letting go?

Why would we want that?

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25/11/2020

Notes of the day

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Score proposal after movement research on gesture (5) "Marco".

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Working with:

-the BEAT

-360` multidirectional possibilities for the gesture.

-short sequence of movement.

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Sequence:

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1,0,0 1,,0,1 0,0,0 0,0,0 0,1,1 0,0,1 1,1,1 0,0,2 0,0,0 0,0,0 0,1,0

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0= wait on the spot.

Timing: 1 to 3 beats (decision making).

1= gesture (5) changes direction and walks the space. Only with the necessary impulse or directional force led by the head (think about all angle possibilities on the 360`).

Timing: 1 beat.

2= short sequence of movement on the spot. Like sparks of very precise and quality short movement frases. The body frees itself on the space, but within a time limit. What could be the SCALE?

Timing: 2 beats.

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This is only a test, feel what is possible.

 

 

 

31/11/2020

Notes of the day

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Feedback from Blanca

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Yesterday was very good. Always exhaust the section you are in before moving on to a new task. Ask yourself: when is the material ready to integrate the new rule, challenge or complexity?, what is the purpose to add, or why the need for change?

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Improvised work requires a very clear path to follow, and some solid anchor points, so we don’t get lost or disorientated. Which type of anchor points could help? Physical, spacial, rhythmical?

What has to be fixed and what will stay improvised? Is a decision.
 

It also means STRUCTURE.

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VARIATIONS

INTUITIVE