practice the work

We try to make the Imrovisation dance be alive here in Oslo.

For one week now we practiced in the mornings. "Kom igang uke" the good old people of the improvisation community of Oslo..7 of us. We lost our studio some years ago and didn´t find a new one yet

Thinking about pause a lot and how to keep the energy up, and how to change between different states and to stay strong.

Grand Unified Theory

tool: anything used as a means of accomplishing a task or a purpose
logic: interrelation or sequence of facts or events
aesthetic: a philosophical theory or idea of what is valid at a given time and place


Those three elements can be the same thing and be given equal status or be completely different.

Questions -
Does your aesthetic determine your logic?
Does your logic determine your tool?
Does your tool determine your aesthetic?
Does your tool determine your logic?
Does your logic determine your aesthetic?
Does your aesthetic determine your tool?

Hold With the Open Hand

Something I like to think about while improvising and well, making work in general - hold with the open hand.

Put out your hand palm up. Put something on it. That item is fully supported against gravity. You can move that item where you want to. If you want to drop is, just tilt your hand. If you had been grasping said item, you would have to open your hand and then tilt it the proper direction to let the item drop.

While improvising, support your idea fully but don't let your support get in the way.

As .38 Special sings :

Just hold on loosely, but don't let go
If you cling too tightly,
you're gonna lose control

M 2 M '08 and something I want to try

We came, we saw, we danced a lot. Last night Kelly and I watched some of the afternoon working sessions. Clean spatially...could see the duets, trios, clumps how we were all working spatially.

Couple things I noticed - events kept unfolding almost always at the slightly faster than a glacier impro pace. This is not to say that people were not dancing quickly, but the chapters (for lack of a better word) came and went at a similar pace. Scenarios were presented but not investigated for long. Vocabulary was brought back but a scene is more than just its movement vocabulary.

A score I would like to try is have a group of people working, let's say 7. One person is designated the observer (Though all are observer/participants...) When the observer sees a situation/scene - example: standing slow quarter spread throughout the stage with wild CI duet up stage and solo downstage - s/he tells everyone to pause and identifies the situation.

How much can the identified scenario be investigated? How much can its boundaries be stretched before it morphs? How much material is there in that one scene? Does the ensemble need to move on so quickly

Opening the blog to all March to Marfa crews

March to Marfa 08 is now over. It was again a great experience. It has been suggested to open this group to all different crews: 2006, 2007 and 2008 as a communication link and continue the discussion. 

I suggest using the label options to sort different discussion and use the comment options when a subject is interesting to you.

Labels suggestions:

unapologetic self-promotion

communication link

opportunities

tools

science

links

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