Object dance is based in the inter-relation between objects and movement: making an object dance and feel the tangibility of movement. A dialogue between the physical properties of objects (texture, form, weight), and a vocabulary of actions (throw, push, slide, give, pull, hit, carefully place…) from which the dance emerge.
The “things” with which we work are objects without history nor meaning (pieces of wood, threads, elastics…), that have the capacity to reveal stories and meanings thanks to their connection to the body and movement.
The tension between the materiality of things and the inmateriality of movement generates the energy of the performative language.
“We don’t play with things nor with images, we play with objects that at the same time bend and resist to our desires. We are with them in a state of union and separation. To play with things is to be in union with them in the very place of our separation”.
The Musicality of Gestures
The analogy between dance and music provides an inexhaustible amount of tools and a way of producing and reading movement that feeds the creativity, the precision and the listening to the voice of gestures.
One can relate movement and sound, thinking of both in terms of tone, dynamics, duration, volume, and thus generate a polyphony of actions in one’s own body and in relation to other bodies.
Through improvisation tasks, which awaken a state of alert and attention to the present moment, different themes will be addressed:
– the articulation of a gesture, moving from one form to another, examining the how, the clarity and legibility of the movement;
– the dynamic, travelling between control and lack of control on one’s own actions, playing with the equilibrium, the suspension, letting oneself be carried and taking back the reins of motion;
– muscle tension, supporting, sustaining, pushing, receiving, moving and being moved by the other, playing with how the variation of muscle tone causes different physical and emotional reactions;
– the relationship, copying the gesture of the other, or composing a rhythm of more voices;
– dissociation, fragmenting the unity of the body into different parts, without loosing the perception of the whole;
– the silence, the intensity and the importance of the pauses in the instant writing of choreographic phrases.
All these elements, can be used separately and in connection, as a motor to compose a visual music, and to experience the communicative potentials of this vocabulary.
28,29.01 + 25,26.02 + 25,26.03
Workshop: Improvisation and composition
Pla del Penedès (CAT)
7 > 11-12