O N S D A G

11:20

Min gamla danskritik-mentor, författaren och danskritikern Sanjoy Roy, gör enkla pedagogiska "steg-för-steg"- presentationer av olika danskonstnärer genom tiderna(både nu & då) enligt en struktur som är rätt kul och lättillgänglig. Hittade dessa av en slump och har använt dem som supplement till den litteratur jag plöjt inför Dansteori-lektionerna om postmodernistisk dans i USA.

http://www.theguardian.com/stage/series/stepbystepguidetodance

 Särskilt om Trisha Brown och Yvonne Rainer.
http://www.theguardian.com/stage/2010/oct/13/step-by-step-trisha-brown
http://www.theguardian.com/stage/2010/dec/24/step-by-step-yvonne-rainer

 Det är även han står för text och tal i kortfilmerna Planet Dance - A visitor¨s guide to contemporary dance, i samarbete med The Place.








Imorgon blir det examination där vi mixar metoder och tider i ett avslutande site specific med score i en scenisk improvisation.

 SITE SPECIFIC

IMPROVISATORISKT SCORE

 "A score takes the self out of the self, jars you away from habit and requires you to problem-solve on the fly. Even if a score is a detailed plan, the self becomes a composition machine, and presence flies out of you in surprising ways. A score gives you a predetermined plan for undermining your usual predetermined pathways. Interpreting instructions is a felicitous combination of creating your own world and listening to something outside yourself. It can create cooperation around a single idea, or it can be a fruitful clash of opposing ideas. It can have gorgeous clarity or it can be a glorious mess. Scores are intimate, approximate, alive."
- Clarinda Mac Low

 (http://www.movementresearch.org/criticalcorrespondence/blog/wp-content/uploads/2012/08/The-Score_Clarinda-Mac-Low_8-4-12.pdf)
"So often I look at space as a separated “performance space” and “waiting space,” rather than one collaborative structure there to support the energy."
“The end of the space is the body,” therefore, we have no other choice but to commit our body to the surrounding space. We are, as Smith stated, the end of the specific space. There is no removing the fact that space ends at our bodies; therefore we must send waves of energy to the next point where the space ends. Then we can try to connect each body’s energy to one another."
"Looking at space as an open structure, and our bodies, the end of the space between two or more things, I have to look at the actual geometrical structure. In many improvisation classes we enter the space with the clear goal to make an architectural setting with our bodies, in relation to each other and other objects. This new concept leads the sideline border to dissolve and pathways to develop—trying to remove the hesitation and help those “not in the dance” realize that either moving or not, they are present in the dance." 


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