66 resultados para IMPROVISATION
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An intimate format of solos and duets, aiming to spotlight the emergence of Deakin University's dance students.
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The weight of the thing left its mark frames improvised dancing through relationships between the dancers, a live soundscape and the uses of masses of cutlery. The simple, evocative design of the space alludes to farmhouse domesticity, but the atmosphere is taught as the dancers negotiate the psychological and physical interactions that determine their improvisations.
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lmpro Exchange brought together practicing artists primarily from NSW but also from other states in Australia to articulate questions and as physically expressed and evoked through improvisation. It was curated by two of Australia's most senior and respected performing artists in the contemporary dance/performance scene- Tess De Quincey and Martin Del Amo. Dialogue across the different backgrounds was both challenging and stimulating. For example, dancers came from Japanese, Pacific Islander, Aboriginal, German and Anglo-Saxon Australian cultural backgrounds. These dancers also spoke/danced from their respective cultural understandings about dance and from the ways of moving these cultures embody. The dancers also ranged across different generations thus requiring negotiation as to what dance means at different ages and how dialogue can be achieved with such different physical capacities. Made possible by the flexibility of improvisation as a medium, the dialogue was important in a sector where dancing careers usually end when dancers reach their early thirties. Equally important, and with such a large group of dancers, was the 'working through' of performance problems about how improvisation can be improvised and composed with such a multiplicity of voices, backgrounds, styles and practices. These negotiations were presented in a one-hour public performance.
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This project developed a new approach to movement practice and performance through a solo performance that used physical paradigms of endurance and work to integrate the normally divergent movement practices of contemporary dance, circus and improvisation. This work contributes to developing dance and movement curricula relevant to contemporary hybrid aesthetics.
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This project explores the ways that creative practices—improvised movement, choreographed dance, and digital video—produce new knowledge about the sociability of public space. In other words, it uses various theoretical concepts and practical strategies to document and analyse the ways people inhabit and sometimes subvert public spaces — such as plazas, malls and piazzas — as part of their everyday experience. Drawing on concepts developed within the fields of performance theory, spatial history, cultural geography and social theory, the project will build a methodological toolbox for understanding the relationships between the diverse groups that use public spaces in Melbourne, Australia. This ‘toolbox’ will subsequently be used to understand analogous public spaces in other parts of the world to generate comparative data about spatial sociability. The research will enable an innovative way of mapping social, civic and political relations in space through a series of creative interventions, and will reveal the politics of everyday movement while exposing tensions between the spaces of public culture — those framed and legitimated by state institutions — and what Michael Warner calls ‘Counter-Publics.’ That is, those oppositional groups who actively seek to use public space in subversive or unauthorised ways.
This project documents a series of performative interventions designed to harness the untapped potential of various forms of street performance genres to function as tools that can produce new ways of understanding the politics of movement in public space. These ‘interventions’ will be generated through a series of practical performance and movement workshops that will draw on street theatre techniques, contact improvisation, Laban movement analysis and contemporary dance choreography. The project will focus on a series of dyadic relationships: self and other, inside and outside, centre and periphery that are relevant to human interaction in public space.
Street performers — musicians, acrobats, jugglers, magicians, mimes and so on — seek public spaces with high volumes of pedestrian traffic in order to maximise their ability to draw an audience and make a living. These performers who create temporary performance zones alter the flow and intensity of movement around them, thereby transforming the plazas, piazzas, town squares and subways favoured by buskers. Some of these performers interact with their audience more than others, and are potentially capable of telling us something about the politics of space. The practice of ‘shadowing’ the movements of passers-by is an increasingly popular form of public entertainment around the world.
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WORK functions as both performance and document. It demonstrates some of what training-practice within a hybrid arts practice might be and performatively places into action an investigation into solo work and multi art form collaboration.
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A screendance artist response to the essay "Falling into the surface (toward a materiality of affect)" 1999 by Pia Ednie-Brown curated by Simon Ellis.
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A site-specific solo dance work created and performed by Dianne Reid. The work interacts directly with the audience who must move in and around the dance action in intimate and non-traditional performance locations. The dancer creates the performance in real-time, improvising her movement and text in response to the location and the particular audience members she encounters there. The work also incorporates projected video imagery using the skin as projection screen, and a unique soundscape is created for each performance drawn from the music and effects library of SA composer Stuart Day.
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A site-specific solo dance work created and performed by Dianne Reid. The work interacts directly with the audience who must move in and around the dance action in intimate and non-traditional performance locations. The dancer creates the performance in real-time, improvising her movement and text in response to the location and the particular audience members she encounters there. The work also incorporates projected video imagery using the skin as projection screen, and a unique soundscape is created for each performance drawn from the music and effects library of SA composer Stuart Day.
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A performed conference presentation incorporating dance, video projection and spoken word.
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The solo WORK represents an investigation and inquiry into hybrid practice and performance in dance. WORK is the product and register of the author's Master of Arts by Research project undertaken at Deakin University (2010-2012). The embodied inquiry into the nature and potential of hybridity begins and returns to the body in both the physical and written performances. Rather than viewing hybridity and the hybrid body as a pastiche of poorly understood practices, processes and aesthetics, this investigation proposes the hybrid body and practices as one of positive expansion, inquiry, and development for both art form and artist alike.
WORK developed a new approach to movement practice and performance through a solo performance that used physical paradigms of endurance and work to integrate the normally divergent movement practices of contemporary dance, circus and improvisation. Through experiments of endurance in practice and performance WORK engaged in an experiment that placed the author's body as researcher, dancer, choreographer, performer, acrobat and more into the centre of her inquiry. The author's inquiry posed questions as to the potential or otherwise of the hybrid body in the creation of an individual idiom in dance, and challenged bodily endurance in solo performance practice.
This was a performance demonstration of what training-practice, performance-practice and performance might be from a hybrid perspective and also the physical and psychological performance of WORK. WORK is presented as functional, critical, challenging, demanding, and as an endurance event.
The discussion post performance focused on a new choreographic methodology (Studio-led practice as research for PhD study) for extending the potentiality of hybrid work physically - looking forward to removing bias and habitués and potentially creating a new paradigm aesthetically, physically, practically and critically.
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Steph Hutchison's solo WORK is fuelled by an interest in pushing the body to its physical limit. A hybrid performance, interweaving dance, circus arts, improvisation, sports and theatre, WORK is inspired by the physical journey of Julie Moss. In 1982, Julie Moss competed in her first Ironman without ever completing the total distance before. What began as a lark became a struggle for survival and a test of human will. Each time she felt like quitting, she thought it was her 'ego trying to self-sabotage,' but her real self was 'that voice that said; "just keep moving forward. There is no limit." Hutchison explores the notion of dance as extreme sport and emphatically engages her body in rigorous physical practices. Her attention is to muscularity and the performance of effort, work and labour, to the point of physical exhaustion. Using circus apparatus such as tissu, rope and acrobatic mats, Steph pushes to and beyond the limits of her physical ability during the performance. In preparation for the show, she puts herself through intense bootcamp style training, classical and contemporary dance training and teaches herself new acrobatic tricks. Her aim is to push herself past exhaustion to another level.
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A new performance work in the series titled "Dance Interrogations" which explores and responds to a specific site and a moving audience through dance, spoken word, improvisation and projected screendance imagery.
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Two improvised performances of five hours duration each with nine dancers responding to the environment and interacting with spectators within the red train in CERES environmental park.
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Three dancers moved between and into Lake Bolac’s historic and community buildings dancing in each building. A series of transient micro-dances intimately inhabited the spaces themselves, stirred by the qualities and impact of the architecture. Evoking ghosts of the past but also inviting fresh eyes for these spaces, the mingling of past and present was embodied in the presence of the performers as they traversed the township of Lake Bolac.