Traditional choreography and our process - towards defining principles

FROM SKYPE CHAT

[5:25:53 PM] Marnie Orr says:
Deborah Hay, Rosemary Lee both use somatics but in different ways. Hay - just being with the audience, and present with the movement, and validating the process. But its different how we see this body-environment connection.

[5:27:45 PM] Marnie Orr says:
Also Fran Barb

[5:34:16 PM] Marnie Orr says:
But all are focusing on making choreography. Choreography is not important like it is in a traditional way. Carla says she does choreograph but - the relationship with audience is different. It is more important to be present in the moment - the connection of what is happening - with the environment - we do things leading by this connection and by being present in the moment, and responsive to the sensorial reality. This means that what we are doing at each moment is going to be different at each moment, and therefore is going to be different at each different moment. In a sense there is not a path of a sequence of things that we repeat. It is more inportant to be responsive rather than repeat a path. it is not to repeat the same path over and over regardless of that connection. We have to acknowledge the path of course, but it is not foundational.

[5:35:15 PM] Marnie Orr says:
Someone 'Walker' said she respects the paths. Carla likes this. It's true that we have paths of movement and paths of behaviour. We need to acknowledge these, and we can work to change paths.

[5:36:41 PM] Marnie Orr says:
Choreog in a traditional way is a sequence of movements, made by a sequence of movements.

[5:38:58 PM] Marnie Orr says:
Tess de Quincey defines her choreog as highly structured improvisation.

[5:45:50 PM] carlavendramin says:
Marnie said Tess tranposes the essence of each movement within a pre-defined path to be in any new context. for instance ... In Marnie's experience in the desert , she worked defining the essence on paper and movement and took to the city as memory to work in a choreografy. The choreograohy worked as defining paths to be used within a sequence pre-defined. Created the composition. The taks was used to experiement in the begining, then they re-visit those path (eg. in the city) or... the task was also to draw out the experiement through the essenses. The essenses e.g. would be specific qualities and relations to the environment. Tess define one part of this process as empathise with elements. In the skills of the performer is not the empatising but maping and recognoition with the environment.

[5:49:02 PM] Marnie Orr says:
Dependent on context, as a foundational principle. the creation of this type of choreog - can be seen as traditional. But the sensorial aspect is very much present. Therefore the context is a foundational principle. Because the context changes what is happening.

[5:50:30 PM] Marnie Orr says:
Are we saying that trad choreog denies immediate context? Yes. Deborah Hay does not deny this. Because she works in the moment.

[5:51:36 PM] Marnie Orr says:
transposition and transference - of sensorial based choreography

[5:53:05 PM] Marnie Orr says:
body and environment has nothing to do with choreography, specifically

[5:56:16 PM] Marnie Orr says:
Carla is suggesting taking these different texts - eg. focusing.org and christine greiner and others - as starting points in order to help define this new genre.

[6:00:23 PM] Marnie Orr says:
Following Body Mapping workshop with ROCKface, I am now working with a tree to look at my body consistency and the consistency of the tree. She will work with climbing and hanging as well. Working at Trent Park presently.

[6:11:57 PM] Marnie Orr says:
Parallel the diary-style notes and writings at http://transnationalterrain.blogspot.com as the physical practice, with analysis-style dialogue and shared discourse at http://bodyenvironment.blogspot.com