Week 1 Post
Acting is a huge quality that I rely on when I dance, even if there’s no story to tell. I think you have to be aware of the people receiving the work, acknowledge them and communicate with them. I tend to create really hectic and physical movement.
Like Alexander Ekman's "Left Right Left Right," I want to work on more vigorous type movement and play around with the endless resources of sound and music and people around me. I love experimenting with improvisation, drama and absurdity and would love to play around with possible ways to inspire sound or help create it, with or without preparation.
I got chills watching you dance! I think the simultaneous strength and finesse of your movement lends itself well to protest music, as it strongly conveys emotion while still demonstrating your will and control. Improvisational dance is to me one of the most instinctual and relatable forms of art, and would be a powerful component of protest music.
ReplyDeleteI love the diversity of movements in both of your videos! I'm also really interested in the idea of acting even without a story. I've been thinking about the idea of masking stories so deeply in metaphor that only the feeling of the story remains and I would love to see/hear people's interpretations on that idea.
ReplyDeleteActing through dance is something I've never thought about as a non-dancer. I can see how it'd be immensely important with movement. Without the drama dance would feel less exciting. It'd be really interesting to experiment with absurd soundscapes as well as absurd dance? Just a thought.
ReplyDeleteYour first piece is so interesting, the combination of your movement and the choral piece was really enjoyable. It felt to me like you we're playing the piece because all the different components went together so smoothly. It's interesting about whether the movement influences the music or vise versa.
ReplyDeleteI thought the fluidity of the dance was great, and I think what you're saying here echoes what we talked about in class the other day about chaos, absurdity, etc. I think there's a lot to be gained from nonsense.
ReplyDeleteI am very unaware of what dance/dance education is like so I am glad you brought up that you like to think about acting as part of your work even if there isn't an explicit story. I am curious, when there isn't a narrative or given circumstances, how do you like to approach incorporating drama and acting?
ReplyDeleteI like that you mentioned absurdity in your response to Left Right Left Right. I also would like to play with absurdity. I think it is a really powerful tool and can have an amazing impact on viewers/listeners.
I'm also a fan of two things existing separately but in the same space. This Alexander Ekman piece is so visually striking. The unison possibilities of large numbers of bodies onstage really excite me. (That skipping moment is a highlight for me).
ReplyDeleteThe way you dance is really interesting to watch and I think its interesting to think about that we all engage in interpretive dance in some way. I was about to say I have never really done interpretive dance before but then . I remembered I actually do it all the time. I think it would be correct to say that it is one of the most primitive forms of human expression, so much that it is built in us. I would love to explore doing something like what you shared. The organized chaos of the dancing is really expressive to me and I'm intrigued by the somewhat sterile feeling stage design and how it affects the content of the dancers' performances.
ReplyDeleteYour approach to dancing is extremely free and refreshing. I think that your movement would work extremely well in this setting sort of being the outline for a live performance of multiple media disciplines.
ReplyDeleteI think art and dance with the sense of a collective whole and simultaneous movement is a really interesting way to convey a direct and powerful message to an audience. Would love to explore more of this idea if enough people are interested.
ReplyDeleteDo you find yourself having a preference between movement influencing sound or sound influencing movement more? Do you think movement guiding sound convey a message completely differently than sound guiding movement or does it depend? This is definitely a super interesting topic to explore!
Your interest in 'acting' prompted me to consider the theatricality of your video. Although maybe not intentional, we could think about how the camera on the floor puts us in the position of someone/something very small, looking up at a giant. How does that change the way we apprehend your movements, the scene behind you, your clothing?
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