My research currently revolves around the idea of vulnerability in performance, approached through a dialogue between movement and thought, with a special interest in what sits (or rather what moves) between the two. I have at times called this oblivion or void, arguing against a general understanding of the latter notion as a place of emptiness or lack of substance, which I experience as a space rich of events ranging a broad spectrum from emotional changes to physiological ones. I regard this place, however uneasy or uncomfortable, empowering.
Broadly, the approach I have adopted in dance as a means for improvisation and composition has been focused on interruptions, gaps and glitches to interject a dancer's assumed linearity of movement and thought. In the practice arising from the project this blog reflects, I have been dealing with misinformation, lack of information or disinformation as tools to undo common understandings and generate personal ones by filling the gaps.
The way I have been studying the dialogue between movement and thought has been by designing and practicing tasks aimed at taking a dancer outside of their comfort zone by perpetually provoking changes in their attention, bouncing it from internal to external stimuli. In some cases this is achieved by interrupting the flow of though and movement, creating physical and emotional glitches by guiding them to multitask so far they lose overview of what they are doing or thinking about, or by leading them into journeys of imagination in which to root their physical experiences while performing.
In relation to changes, I have in the meantime discovered an attraction to the idea of metamorphoses and begun to explore the concept of feedback-loop and the possibilities this presents through the engagement with multiple mediums.
Dramaturgies of an ATE is part of a practice in which collaboration is an integral part. The project started as an experiment with the dancers in my company, and soon evolved into a series of virtual meetings which consisted in practical explorations with at core the notions of contradiction, feedback-loop and metamorphoses. Subsequently, during a week of explorations, it converged with other aspects of my research, such as vulnerability, instability and impermanence.
I am not interested in defining performance or its reiterations.
If anything, I want to destabilise and stretch the possibilities of existing definitions.
Broadly, the approach I have adopted in dance as a means for improvisation and composition has been focused on interruptions, gaps and glitches to interject a dancer's assumed linearity of movement and thought. In the practice arising from the project this blog reflects, I have been dealing with misinformation, lack of information or disinformation as tools to undo common understandings and generate personal ones by filling the gaps.
The way I have been studying the dialogue between movement and thought has been by designing and practicing tasks aimed at taking a dancer outside of their comfort zone by perpetually provoking changes in their attention, bouncing it from internal to external stimuli. In some cases this is achieved by interrupting the flow of though and movement, creating physical and emotional glitches by guiding them to multitask so far they lose overview of what they are doing or thinking about, or by leading them into journeys of imagination in which to root their physical experiences while performing.
In relation to changes, I have in the meantime discovered an attraction to the idea of metamorphoses and begun to explore the concept of feedback-loop and the possibilities this presents through the engagement with multiple mediums.
Dramaturgies of an ATE is part of a practice in which collaboration is an integral part. The project started as an experiment with the dancers in my company, and soon evolved into a series of virtual meetings which consisted in practical explorations with at core the notions of contradiction, feedback-loop and metamorphoses. Subsequently, during a week of explorations, it converged with other aspects of my research, such as vulnerability, instability and impermanence.
I am not interested in defining performance or its reiterations.
If anything, I want to destabilise and stretch the possibilities of existing definitions.
I will make up my own rules
I will chose and change my mind
I will disorganise and repeat
I will be confused and confusing
I will chose and change my mind
I will disorganise and repeat
I will be confused and confusing
The main objective here is to reflect the content and strategies developed throughout the explorations. It is a monograph and tool that offers scores, images, stories and conversations as documentation of processes and references for further development.
There is no imposed narrative. The blog can be navigated through the sections found in the menu BETWEEN.
It is an invitation to make up your own rules, to choose and to change your mind, to compose your own linearity and to be confused, with me.
It can also be encountered in the way it is arranged in menu 1.