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Besides the lists that we made and I am sure everyone has their own copy, what came out of the task was how different our approaches are by nature of our differences as people are.  Some people wrote poetically, some philosophically and some like me, very practically.  Here is my list:

TEN  ELEMENTS MY CLASS OFFERS

1)  PHYSICAL STRUCTURE/ BONE PLACEMENT

      A) GEOMETRY WITHIN THE BODY

      B)  GEOMETRY IN SPACE

 2)  USE OF WEIGHT

      A) DROPPING INTO OR GOING UP AGAINST THE FLOOR

      B) ALLOWING MUSCLE TO FOLLOW BONE

3) SENSATION  

      EVENTUALLY GIVING UP THINKING FIRST AND TRUSTING THE NEWLY  FOUND SENSATION.

4) RHYTHM

5)  OVERCOMING FEAR AND REPLACING IT WITH KNOWLEDGE.  

       REPLACING INFORMATION WITH ACTUAL PHYSICAL KNOWLEDGE

6)  BUILDS CONFIDENCE IN THE WAY THAT ALL LEARNING GIVES THE REWARDING FEELING OF ACCOMPLISHMENT.

7)  BUILDING A LEARNING PROCESS

8)  LEARNING TO ANALYZE BY WATCHING

9)  BUILDS IMAGINATION BY INCREASING WHAT COULD BE POSSIBLE AND TAKING RISKS

10)  FREEDOM FROM FEAR OF HUMILIATION BECAUSE IT IS ALL HUMILIATING

        A)  THEREFORE ALLOWING THE EGO TO TAKE A BACK SEAT

        B)   BREAKING THE TYRANNY OF BEING “COOL” BECAUSE YOU ARE IN

               BALLET CLASS

 

I suggested next that we write ten elements our work does not address.  This proved to be a more difficult task since the by products of our work and how each participant interprets the work was inseparable.  For instance, I said that my work does not deal with the creative process.  Malcolm disagreed having just found a new ease in a movement I gave in my 15 minute class and saying that it influenced possibilities in his improvisation work.  

Jennifer had an original question about how to integrate the critical within the somatic and vice versa.  I came up with an experiment later named " the sleeping critic ".  The idea was to find a new way of offering feedback to a piece in process.  We would watch, sleep for 15 minutes or so, and then offer our observations.  The result was that instead of just offering objective criticism we would be able to touch our own unconscious feelings of what we saw, experienced and remembered.  It changed our position as " watchers" into something more involved and less external as critics.  It also offers the maker a way of knowing what the viewer experiences, what sticks with their experience of watching, so if the maker chooses they can continue on those paths.

Shelly came up with the idea of a physical debate.  A participant would stand, or move and two people would correct lets say the alignment and make the case for their correction.  Eventually someone would have to win the debate by the panel watching.  We did not have enough time to fully investigate this experiment but it is worth trying again sometime.

We re- used my telephone game from the year before by making it a teaching and re- teaching experiment. Someone would teach a movement, and three people would re-teach it. What became clear was how someone's practice influenced what they saw and chose to re-teach from the original, changing the emphasis of the original lesson.

It was truly a most productive ttt with a lot of concrete and creative information being experienced.  I cannot thank you enough for this opportunity.  Perhaps we should film the entire event next time.  Oh sure there will be wasted footage, but as in most artistic pursuits the results cannot be easily defined.

Janet Panetta

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