Sound, Body, Movement, Character.....

Joanna led this Lab, continuing this month's theme of Action Theatre and Ruth Zaporah inspired exercises; linking the body's movement with the voice/sound.

• moving from a certain body part, guided by a partner, rolling across the floor
• Layering sound with the kinetic response to partner's touch

• 1 Sounder, every-one else; Movers
• 1 Sounder tags in and out with Movers
• Play with looking and not looking a the group

• As a Sounder: Being a good leader...or more predictable vs. not- more self indulgent sound
• The Movers: solo exploration vs. group interaction (what does that dynamic feel like?)

• Flocking with Sound and Movement
• Moving into an Open Score
• Being highly vigilant of one another...less of an Open Score really because it began with an exercise
• Open Score needs to be clearly stated/introduced

Marc Licari Itching to Go
Courtesy of: www.baldwingallery.com/0109_ar-ml/ar-ml.html

• Within Open Score- finding a balance with the following: Awareness of Composition, Awareness of the whole group, having the freedom to step out whenever to be an observer, Performance practitioner "deep play," ensemble based work, allowing the ooey gooey, and being precise.

Patrick started this Lab with a warm-up that worked it's way up from the floor:

• difference between large and small quantities of the bodies surface area making contact with the floor
  
• Support vs. Propulsion

Throughout Patrick's warm-ups, the group was collectively gently using the voice here and there with movement; warming the voice up with the body; effortlessly and spontaneously

Joan took over and lead us through an accumulating series of exercises inspired by Ruth Zaporah:

• Moving through ranges of low planes and high planes with the body; linking the voice to body; If the body stops the voice stops- if the voice stop the body stops

• Partners:

-One partner is the SOUNDER; the other, the MOVER
-The SOUNDER closes their eyes and simply plays with the sensation of sound in the body without any movement whatsoever.
-The MOVER responds to the SOUNDER through only movement. If the SOUNDER stops, the MOVER stops.
-(switch)

• Working independently: you are your own SOUNDER and MOVER in one; working with SOUND and MOVEMENT simoltaneously, playing with the same impulse first with SOUND then MOVEMENT, and visa versa

• Phonetics-----> <------ Mechanics

• NOT:

Phonetics----------->
Mechanics---------->

BOMBADEER:

• One Vessel; all others approach the vessel one at a time in either a DIRECT or INDIRECT way with ONE gesture and sound
  
• The Vessel and the "actor" (for lack of a better word) repeats this back and forth
  
• The trick is: is that the gesture and sound need to remain the same
• The "actor" is allowed to change the Tempo, Spatial Relationship, Emotion, Movement Quality, (the viewpoints...) of the gesture and sound
• The "actors" exchange in and out for the Vessel who has to immedietly drop what they are doing with the previous "actor" to mimic the new "actor"
• "actors" should try to drastically propose the opposite of the current "actor"
  
• The next development is adding text
• The "actor" approaches the Vessel in a DIRECT or INDIRECT way with a repetitive GESTURE and LANGUAGE. (this may look like twiddling fingers and whispering mischievously about what you'll do to your little sister when she comes home)
• Listen to each other

Autobiographical Storytelling:

• Two people sit side by side
• One begins to tell a logical real story
  
• The other interrupts when ever to tell their own individual logical story
• The two keep interrupting one another remaining isolated with their own story

We had no Open Score......Baaaad Joan

Courtesy of http://www.banksy.co.uk/indoors/greenriotcops.html