I have always felt a strong urgency to connect with people on a deeper level and to create art in a more fluid way - one that is not confined by the rigid traditions and formalities of the classical music world I grew up in. The concept of choreomania made me reflect upon the ways in which I understood social contexts, public space, and movement - more importantly, deviant movement. I started wondering how I could shape a performance involving what I learnt from it, focusing on the importance of process, reflection, and the pursuit of new approaches to presenting art that align with my creative interests.

This experimental playground seeks to explore how the framework developed around choreomania in previous chapters can serve as a catalyst for my artistic proposals. Additionally, I examine how elements of choreomania emerge throughout the creative process and manifest in public try-outs. To further analyse the shape of try-outs, I use Gester’s Map of Components (2021) as I guide. Most importantly, emphasis is placed on reflecting deeply on the process itself.

These three try-outs are not final products but rather seeds that will gradually develop, branching out in different directions as the explored approaches are digested over time. They are small-scale “not-yets,” continuously evolving in an ongoing process. Only during the performance, they appear to be momentarily captured - much like the photographic still Bergson describes in his discussion of concepts. Yet I emphasise appearance because even in performance, new ideas and responses emerge through interaction with a constantly shifting environment: the physical presence of the audience, the sounds and movements they produce, the atmosphere of the space (often different from the rehearsal setting), subtle shifts in smell, fluctuations in temperature, variations in lighting (even in a seemingly identical setting), and countless other unpredictable factors. The performance itself remains fluid, resisting complete fixation.

I want to emphasise once again that the term experiment does not refer to the scientific experimental method, which relies on controlled conditions and hypothesis testing. Rather, it signifies an exploratory artistic approach, where trial, observation, and reflection guide the creative process. The format that the section below follow is: short description of the performance try-out, description of the process, documentation, comparative analysis (only in try-outs two and three) and reflections.