Thursday, 21 March 2013

Skript/ #especes

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Skript 170303: After watching a live improvisation #especes, Rosalind Crisp (AUS)



the space between you  me us… moving reaching your arms out,, searching (re)searching!

the corner frames you ,  eyes all cast over me, away from you to him. but i



dwell with you …



your head curved to the side, my neck rotating, twisting to see feel your movement as the arms extend the back curving. breath heavy behind me.  ha,,, ho, pheewww. the feet pa pa ba, pa.. him as sound for you. your music .  laughter.
in front of me he drops, foot held in hand.  an in take of my breathe. i notice in myself the capturing of the picture. hold it vida, the moment pauses in my minds eye. the foot held in hand, leg at 90%.  and image to be recalled. replayed. re re replayed. the comfort between them resonates in the room. he and she.  the rock and roll comes back like an old friend, ally. yes the rock roll rolling hands. hansueli where are you? Default yes but take whatever comes and the choreographer wanted to stir things up break any english ness. the pair about and them together is see feel you curve under him.,ratbag. the play the connection resonates in us we feel you’re connected.  the solos too much extraneous movement. but in your parting.. in your distance across the room i feel his sound in your dance and your dance in his sound… rat pa pa rock and roll hole.. when we are five its a rat pack.  the rats run roll tumbling I like the animal, try not to spill it too much all over people, but when it come up from underneath it releases a tiger in me.  yes yes i heard the tiger in you very strong the breathing , arrghhhh. the energy filling the room… is it too much? the choreographer wonders… and when you sense the too much how it that in your body? its a reading of the accumulation of dynamic shifts in the space, does that make sense? for example my solo early on max was more busy than usual, he is supposed to be less active, so this brings up stupid questions which are irrelevant when one is in the studio playing, we don t know the limits of this work.

Skript/Bonington

 
Skript 170303: While sitting at Bonington Gallery foyer, Nottingham (UK)

 
2 columns of sensation either side of my spine, if they could speak in words i imagine them saying to other parts of me, get up, move, dance me…dance with me, move with me, i tire of this position, stillness in this position i hold for you…but if only…. moving into the blue red image.. the dust falling on to my face. running into the depths of the blue, red cloth, image.

i feel another part of me moving elsewhere , if a mind could dance into new places it would happily move into the depths of bleu and red…moving into and out of, with and beyond…not worried to be constrained by time and space, mind dancing, body dancing, all the same but only physics really holds me here…i long to escape…into dancing parts and whole, particles and molecules … our 100 billon trillion cells all doing the same dance.  or different dances, and also our two billion year old self also dancing with the self present, or thinking she is present, now…


crawling. i sense the pressure into the  knee the shift across the pelvis the tightening of the stomach muscles as the other knee moves forward… this is my two billion year old self knowing. memeboring. rememboring.
boring… re   member….boring….bearing….
bearing the weight. laughter. ha ha. what…

head falls forward, releasing the upper back the shoulders. if i crawl will i need this kind of release, if i crawl or dont sit will the needs of stretch and pull shift and alter

falling to the image.. the particles drifting .. me as particle drifting. in and out. do i have the same lightness.. do i fall on many surfaces? i sense a longing  long in lightness. my body as a piece of dust, part of the air around me. what would it be to touch you as the air touches us? the dis-appearing self that so compels me. 

a lightness in my arms, back and chest, i sense my dust-ness, feel into my dust-ness as i float in the air, and then there is something more, notice it, wait to find the words, the tickle and heavy quality of of of of…the keyboard, i hear him say.
the room shifts. i relocate, fight to stay the sounds. i work as work to press the sounds into the muttering background while noting the ways in which the inner fluttering increasing as the room dynamic changes. so loud.

the group stand to the left of me… forming a space that circles in on themselves. hello.. he says. join me.

the passing feet pause and the choreography of the room changes again.  do you sense it see it hear it? as you sit with me we might imaging the dancers, people as dancers.. passing around us centre stage? can you write the dance?  the sounds behind are our music…. ok ok … i sense the potential a drop a fall. great.

the hand on the lip a light touch. a pause. his dance your dance our dance all in the one gesture. a chinese gesture perhaps? 

an awkwardness about being centre stage. wondering what’s behind. what sounds to respond to, what movement might be happening behind my head. wondering what movement is happening with your head. its tilt as a dance? your lips slightly shifting the smallest moment movement are the thing. there is no need for more. ok. so mine is the choreography of uncomfort. the touching of my lips, the scratch of my head, the shift of my body on the chair. shifting as dancing. twitches. gesture. the patterning and repeats that shapes emerge ,,, the hand returns as your dance of gestures and twitches takes shape here now at the keyboard with me. and these gestures are the same i have when watching work i realise. the feeling of both performer and observer, by turns comfortable and uncomfortable depending on who’s watching and who’s being watched. we’re in this together, and this needs both of us. ah yes. i recognise that being with self whilst watching that which is presented or just is in front around me. being with my body my sense while noting how that shifts me with that i watch.

small feet catch the corner of my eye….

More people now. more sounds, more sense of being observed. and more to observe. with our backs to the action. and our observing is from our backs the eye in the spine…. the eye in the back of the neck.

Skript/Bonington

Skript 170303: While sitting at Bonington Gallery foyer, Nottingham (UK)

writing dancing … here with Jane at the Bonington..


red tiled floor…
white table
white chairs
blue white image.

it takes a while and as i type i wonder if i can use the process like a meditation. can i use the passing of the fingers, the typing of thought as a way to drop into the body. to focus in to locate myself.

french accent. the sounds behind my back pulling at my attention. pulling me from my bubble. i imagine it like a sphere of light around me. a cocoon. it feels like it needs/ i need that bubble in order to be here in the moment.

chocolate, the smell rolls inside me..

chocolat noir, sel, avant la performance.
breathing with some exaggerated concentration, a deep breath, moving inside, to see who is here
knowing who is here is more difficult that might be imagined…

lick lips, feet clump, voice booms, laughter,

sunday day grey…  poised in a strange place. flutter. lowering. pausin ggg.

pulling at me . dancing, a movement undanced. awaiting. can will desire. misplaced. as they look lok into i eye i. i  i tr y . come home. home body.

the quality behind my eyes…a low, dark, smooth quality…somehow my eyes are drawn both in and out… somehow my chest is drawn in breath….some how  how some can do these things…the thing ness of them compels me. thing ness. what resides in the tingness thing ness….?
a tinging.thinging…thinning… back up perching. belly open. oddly yes open, guts out.. swirling. exposed. or is it back up, belly closed…back open i feel the source of something not yet known flowing outward, from belly to back to open space…do i need this not yet known thing … the thing in space behind and behind to the  side… drawn to the what might be. being. tr y i n g. to be .. the inhale. opens. voices…i am drawn outwards again, and struggle to keep here and now, as though the voices were from some other time or place. stuart.. come and watch. were it resides. information. the logic of the information. what data  is found in other places i seek peek at them.

dancing. feet crossed. still. can i . i can imaging them shifting perhaps together with anothers.

Sunday, 17 March 2013

skript: a micro-installation

Images from Waverley, Nottingham Trent University, UK

Skript: a micro-installation

images from Nottingham Playhouse, Nottingham, UK


use this space to write

Skript/ One Flute Note


Skript  160313: While watching One Flute Note, Burrows and Matteo (uk)

1 small movement of the hand
2 shift in the neck
3. lift in the eyes
4. crease in the corner of the eyes
5. thundering base
5. one flute note
6 Boys Choir
7. loud voices swimming around my head
8. strange singing and strange chairs
9. lovely chairs movement without being
10.very slight
11. one breath
12. two sitting with me
13 three sets of fingers
14 not knowings just doings ‘puttings’
15 her hand to her check, her golden hair
16 thinkings
17 delayings
18 dads dads

19. one after the other . yes no
20. hand hovering
21. you put something
22. interruption
23. waiting. patterning. seeing. hearing patterning patterning
24. sequencing,  mis-sequencing
25. sounds sounds discordant.
26. cool, calm
27.
not sure i can wait for 45
28.  me neither