Chapters: artistic research

What is art other than revealing human nature?

Day 1 CREATING THE PERFORMER: solo as departure point

BEING AWARE OF WHAT WE DO
Improvise and thereby speak aloud what you are busy with: Where is your inner impulse coming from; what is driving you – An idea or a thought? An emotion? An inner narrative? Kinetic impulse to move? A sensation? Perform in front of another person as your single audience.

MEETING THE EMPTY SPACE
Enter the empty space without plan. Start tracing what arises in you – ideas, thoughts, emotions, imagination, kinetic impulse, sensation… Start simple. Let go of the pressure to be virtuosic or to be original. Deal with the fear of boring the audience.

Day 2 CREATING THE PERFORMER: deepening the solo work and entering the duo frame

BEING INSTEAD OF DOING
Be in comfortable position – in lying or in sitting. Place your palm on the arm of your partner. Release and soften yourself. Stay there for 10 minutes without moving and thereby trace your inner journey.

KNOWING WITHOUT LEARNING
One person moves and dances free, while the rest of the group incorporate the person’s movements as theirs. “Copy” the movement, as if you, as group, have already studied the choreography and know every step. Do so not necessarily staring at the leading person.

BEING AWARE OF WHAT WE DO, AGAIN
Perform in front of a colleague as your single audience, as you did yesterday. What is driving you from moment to moment – An idea or a thought? An emotion? An inner narrative? Kinetic impulse to move? A sensation? … Speak about it only to yourself in silence, while performing.
Now, perform in front of 4 – 5 people as your witnessing colleagues. Any witness can call out a “pause”, whenever you seem lost or seem to be searching for what-next. As you hear the signal, take the invitation to pause for a moment. Bring yourself back to the present and resume your performance.

Day 3 CREATING THE PERFORMER: solo and duo frames in public event Marche de Nuit

COMPOSITION STUDY 1
Sit in pairs, facing each other. Let the two pairs of hands perform in the space between you as the stage. You are the directors, and your hands are your performers. Start spontaneously and compose the scene live. How can your ‘performers’ serve the space – the musicality and the dynamic?

Now, transpose this study into duet performances, youselves as performers. Have the third person define the stage for you and witness your duet. Let go of the pressure to create relationship: You relate to the SPACE in which another performer exists.

HOW DO WE FEEDBACK EACH OTHER
Form groups of three: One person performs and the other two witness. When the performer ends, the feedback from the audience follow in form of answers to the questions: 1) What have I, as an audience, noticed (objective description of the act)? 2) At which moment did I feel connected? 3) What would I have seen more of?

EVENING PERFORMANCES at Marché de Nuit

14th September 2019, Frankfurt am Main

Day 4 TRANSITION

A day for resting, digesting and making the transition into the next project phase. We had a restful morning for tendering individual needs, a healing afternoon for going for a picnic to the Green Lake and baking home-made pizza together, and an inspiring evening with watching a performance in Künstlerhaus Mousonturm.

Day 5 CREATING THE PERFORMANCE: voice/speech and ensemble frame

TRANSPOSING MOVEMENT INTO VOICE AND VOICE INTO MOVEMENT
Integrate voicing in your frame, either making sounds or speaking. Let the quality of your voice match with the quality of your movement, and vice versa. The voice and the movement… come all from one source – the body.

TRANSPOSING TALKS INTO PERFORMANCE
Reflect on the last working phase „CREATING THE PERFORMER“ individually, and dialogue in small groups about your wishes, interests and goals for the new phase. Transpose the group talk into a short ensemble performance. Use the „Commentary Line“ to break the fourth wall and speak directly to the audience from your subjective perspective.

Day 6 CREATING THE PERFORMANCE: „Go on and develop!“

COMPOSITION STUDY 2
The first performer enters the stage and establishes a solo frame. The second performer enters and supports the frame of the first performer by transposing the same solo into another place on stage. The third performer enters and supports the space by setting a contrasting frame.

SUSTAINING AND DEVELOPING THE FRAME
Start a solo. Sustain and develop the solo, without shifting it to a new frame. Allow yourself to pause-to-listen, instead of being driven by what was there before or by what you think should take place next.

TRANSPOSING IN SPACE
Improvise with the following three options: to place in space (yourself, an object or another player), to carry through space (yourself, an object or another placer), to transform (yourself, an object or another player). Live the shape, instead of presenting it.

Day 7 CREATING THE PERFORMANCE: text and music, deepening the ensemble frame

Integrate texts, spoken words, sound and music into your performance. Support the space/scene by relating yourself (your movement, text, spoken words, sound and music) to it. Be in relationship, instead of trying to create one. In other words, let it be the audience who imagine and come up with a story.

Day 8 PERFORMING: meeting the new stage

REHEARSAL IN THEATER LANDUNGSBRÜCKEN
Meet the new stage – first as a group, later individually. As you enter alone, do a three minute solo, while the rest witness and support you….
Have a 45 minute ensemble performance with open structure.

Day 9 PERFORMING: meeting the audience

20th September 2019, 8pm, Theater Landungsbrücken Frankfurt

Example: Process paper as a summery of the group work and sharing