Call- and-Reponse is a compositional technique (used specifically in music) that works similarly to a conversation. A “phrase” of one person serves as the “call,” and is “answered” by a direct commentary or response of others.
In our case one performer offers a movement phrase that is answered by two other performers. These performers can echo, reply or comment on the movement phrase.
Call-and-response has its roots in traditional African music. Think for example of gospel music: the pastor or song leader sings a line and the choir responds. In other styles, call-and-response is often used as a form of experimentation. It is also used in live-performance as a way to connect with the audience.
Ball Game:
Three performers, three balls. The game is inspired on the idea of fake fighting. The performers throw the ball against themselves and they pretendto be seriously hit by the ball.
A fake fight scene is more about dance than it is about violence. That is because the best fight scenes are nothing like real fights. Whereas a real fight is chaotic and random, fight scenes must be well-choreographed and prepared.
Rough and Tumble Game
R&T play refers to ‘vigorous behaviours, such as wrestling, grappling, kicking, and tumbling, that appear to be aggressive except for the playful context’ (Pellegrini and Smith, 2005, 79), and that are almost always performed without hurting each other (Pietro, 1981).
In this game the four performers have to cross the sand by crawling over or under each other. The rule is that they to have be in constant contact with each other. If they lose grip, they need to repair iit as quick as possible.
Another rule is that it shouldn't be smooth in gentle but rough and exhausting.
Fruit Game
Is a bit similar to the ball game. Here we have five performers and a whole lot of tomatoes. Four performers, in turn take a tomato and step forwards. The assignment is to squeeze and pulverize the tomato.
The fifth performer, who stands besides the one that is 'torturing the tomato' takes on the role of the 'tomato'. he is the tomato. All actions that the other four persons perform on the tomato become visible and felt in his body.
The fifth person thus personifies the tomato. He animates a non-human thing, a vegetable, in order to evoke sympathy in the spectator.
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