Hmmm...
It seems that conciousness, modes of attention and states of mind create an aesthetic and/or values about what is good, beautiful, true or real. So far in the ET that I have experienced I find one rigorous and unified state of mind. I have not performed in that strict framework enough to judge whether or not it create its own aesthetic. But I suspect it does.
It seems like some states of mind are too inaccessible for ET - because they are inaccessible to a normal audience through the medium of performance. Values like shock seemed challenging to ET. Questions about performance- is the space a stage for the entertainment of others or a space for self-realization?When does one fail the other? Why are they separate?- seemed to be popping up via performance...
What I think I was doing in Marfa was learning about what kinds of departures from the "score" can I view through the lens of ET and what kinds muck it up so much, or as Nina said "tear the envelope?"
What seemed to work is that if I let my attention be wide enough (sometimes it felt like 360! and I believe that this expansiveness was arrived at through the exercise aspect of ET) almost anything was possible. Like, I am screaming fuck and it (the scream of fuck) is in a line and there are three of us and it takes the hot spot from Heidi.
Hmmm, there's more I want to get down to. Questions really. Like what is ET's or anyone's take on theme and development in live performance?
April 11, 2006
April 10, 2006
Ensemble as Lens
Hello,
One thing that I had hoped to do in M2M '06 was look at set work through the lens of Ensemble Thinking. If E.T. is a useful tool then it should be applicable to not just improvisation but also choreography. This is assuming the definitions of impro and choreo are that impro the observers are witnessing the act of creation and in choreo the observers are watching the product of creation. Time is instantaneous in one and compressed in the other. Just as a hammer is a good tool cuz it works on wood, on steel, in France and when it's raining.
So is E.T. a set of ideas that is universal? applicable to various aesthetics and movement forms? Or does it breed it's own aesthetic?
Andrew
One thing that I had hoped to do in M2M '06 was look at set work through the lens of Ensemble Thinking. If E.T. is a useful tool then it should be applicable to not just improvisation but also choreography. This is assuming the definitions of impro and choreo are that impro the observers are witnessing the act of creation and in choreo the observers are watching the product of creation. Time is instantaneous in one and compressed in the other. Just as a hammer is a good tool cuz it works on wood, on steel, in France and when it's raining.
So is E.T. a set of ideas that is universal? applicable to various aesthetics and movement forms? Or does it breed it's own aesthetic?
Andrew
Welcome to the blog of March to Marfa 2006
I hope this will be a useful tool to continue discussions on interesting topics, stay in touch and start new projects.
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