Schedule
CE 1 |
CE 2 |
CE 3 |
14/1/2021 |
20/1/2021 |
25/1/2021 |
17/1/2021 |
21/1/2021 |
26/1/2021 |
18/1/2021 |
22/1/2021 |
29/1/2021 |
Quantitative data
|
CE 1 |
CE 2 |
CE 3 |
Research time for choreographic tools |
47 min |
35min |
43min |
Session preparation time |
S1-15min S2- 27min S3- 10min |
S1-7min
S2-10min
S3-5min |
S1- 34min
S2-15min
S3-5min
|
Movement exploration time |
S1- 28 min S2- 33min |
S1-22min
S2-17min
|
S1-32min
S2-26min
|
Assembling the piece time |
S3- 52min |
S3- 46min |
S3-34min |
Total time |
212 min (3hrs 32min) |
142 min (2hrs 22 min) |
189 min (3hrs 15 min) |
Number of difficulties encountered |
1 |
2 |
1 |
Average time solving difficulties |
30 mins |
18min |
10min |
Lenth of final piece |
1min 30sec | 4min 37sec | 1min 44sec |
25/1/2021- Improvised exploration
This session required a significant amount of time dedicated to preparation because I had to research the poem and analyse it through the framework of structural linguistics, to find relevant meaning to inspire my movement exploration. I decided to focus on the ideas of organic freedom, reduced space (in connection with oppression and captivity), rage, adversity, and hope. To work with imagery across sensory modalities I tried to explore how these notions affect my senses and therefore my movement. I found very interesting contrasts in the material created, and all sections of improvisation felt very different in an emotional sense.
14/1/2021- Improvised exploration
I worked with improvisation in response to the sound of the text. I explored rhythm, melody, and pause as established. I found challenging to detach from the meaning while improvising, as it is something so present in language. The lyric nature of the text allowed me to find a sense of flow in multiple moments of my improvisation. I felt this text provides opportunity for continuity, following the melodic aspects of the sound as well. I found difficulty establishing pauses.
20/1/2021- Improvised exploration
I improvised in a conscientious manner, to generate movement inspired by the shapes of the letters of the poem, and considering concepts from the sources explained in the previous section of this exposition. My first difficulty was in the length of the poem, so I decided to choose a few verses from it only to create this piece. I also found difficulty finding flow and continuity in the improvisation, as I had to stop to read the verses and start again between the movements. However, I found this method a very effective one to create movement in a short period of time.
26/1/2021- Selection of choreographic material
I selected from the footage of session 1 the movement material that I felt portrayed better the notions I wanted to explore. I found difficulty in recreating the material, as during the improvisation the movement was performed in connection with certain feelings and sensations of the moment. I decided to keep certain sections of the final solo as a guided/tasked improvisation as I felt it was the best was to personally portray feelings of rage and captivity.
17/1/2021- Further explorations and selection of choreographic material
After observation of the footage from the first session, I decided to change my plans and start this session with improvised exploration, specially to improve in the accuracy of the pauses. This worked well because I was more familiar with the text at this point. I also explored further the sense of rhythm through the pace of the words, making a conscious choice of using jumps. After experimenting this felt very organic in the most intense sections of the poem's interpretation. Finally, I started selecting movement, choosing and repeating in different ways what I felt was the best interpretation of my somatic response to the sound.
21/1/2021- Selection of choreographic material
I set a few movements per letter of the poem. I based my work in the movements created in the previous session and tried to manipulate the movements created for each letter to have multiple options. Again, I found this method to be very effective, and as I already had the letters in mind finding options to "draw them in space" became easier each time.
18/1/2021- Setting movement and assembling the piece
During this final session I worked both listening to the poem and looking to the footage from the previous sessions. To keep the sense of somatic musicality I kept working from the sensation of my responses to the sound, even if looking at the footage. When I started to set material I felt that my sense of musicality was enhanced, as I knew what movements to perform next so I was only focused on following the words. I found much less difficulty with establishing pauses as well.
22/1/2021- Assembling the piece
I connected the movements that were created in the previous sessions, following the letters of the text in order. I found that even with the few verses that I had selected, the text was too long and I had make it shorter to make manageable for the time I had. Connecting the material and finding continuity was challenging, and I had to do it by repetition. This way of approaching text as inspiration for choreography proved to be highly effective again in terms of movement creation per time, as by the end I had quite a long solo. However, the material feels too raw and disconnected, both performing it and observing it, and it does not feel like a final product.
29/1/2021- Assembling the piece
I connected the selected material in a phrase that intercalates the different concepts from the poem. The aim was to portray the contrast between freedom and captivity by mixing qualities and sensations. The result is a very abstract piece. I find that although I created this piece from the meaning of the text, using a sensory approach led to accentuate qualities over shape, which did not lead to create movement with literal signification.