Disappear

a dance in another space, relating to the memory of others, channeling the presence of someone else

thoughts back and forth

the piece is starting to become something concrete, materials are starting to spawn and we are starting to have basic movement ideas that can be discussed, refined, organized, manipulated. spaces, traces, emptying and filling up, and disappearing are becoming the focal points. moving in space, relating to the space, creating spaces, emptying them out or filling them up, and relating to the traces that all these activities leave. there are set materials as traces of the process, or there could be processes choreographed which leave traces to relate to later on. there are some very concrete images which I hope could allow for the resonance of other images, become traces of other experiences the audience brings into the space. I’m fascinated by the possibility to create sequences which only over time trigger the audience to revisit their past immediate experience, to notice during the performance the traces already left in their memory by the choreography. a certain ambiguity in the tasks and logics established by the piece seems to have some potential (can’t say potential for what, ha ha). a certain diversity in the approach to similar elements (for instance, a series of transitions in between postures done each time in a different way) also seems to have some power: some events are not very interesting in themselves but seem to heighten things happening before or after. a bad transition seems to make other transitions more visible and powerful. transitions here are becoming materials in themselves, a mass, a field, a texture out of which things could emerge any time. the continuity of textures allows for the audience to revisit what they saw, to doubt their own perception, to wonder if there was a highlight or not, if they saw a shape twice, if certain coincidences have been chosen for or not. a lot of quietness and slowness (so foreign to me), and the materials (the piece?) seem so far very based in ideas of time, more than ideas of space. or something like that. or it’s just the impossibility to affect the sense of one without affecting the sense of the other. the piece could provoke little movements in time, perception moving back and forward while the performance happens, the audience revisiting things that just happened, negotiating them, making events become simultaneous. working with space, modifying the scale of things, placing the body in specific locations, the sense of time is changed. or the other way around, slowing movement down, sensing the body moment after moment, bringing it to a halt, allows for the observer’s focus to move within the body of the performer, and from there into the room and back again. moving backwards. many things could happen backwards. Will’s movement paths, Will’s use of shapes and positions, is also going back to things, revisiting places, spaces and bodies, making his own previous movements resonate, and with them the audience’s immediate previous experience.

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