Dreamscape of Subconcious Streaming.

We articulated our opening exercises/movements/sounds; a rather open outline of events.

Beginning at the perimeter in darkness. The entire score in darkness.
ABOUT DARKNESS:

• A witness to the first half of our play described seeing the bodies in space moving in the dark room as individuals stripped of their identity. The back lit ambient lighting from the parking lot coming through the window at the far end of the space, outlining the bodies figure; masking the face; allowing the movement/sound to be unassociated.
• Struggling with not being able to make clear eye contact or visible connection with another person. Feeling isolated under the constant veil of darkness. Wanting to really sea something, to see someone. Then contemplating trying to achieve an In-Plain-Sight, Honest connection with someone- even in the dark.
• Feeling connected to the organs. Allowing the individual work and internal awareness to be more fluidly part of exploration, rather than always playing to the groups needs or being constantly influenced. Finding the solo space to be more accessible.

Gradually. Individually. Collectively.
Making our way to the center of the room in a circle, facing in.
THE CHORD...or something like it:

• Uniting breath.
• Beginning to vocalizing the exhale.
• Volume and intensity rises and descends back into the silent breath.
• Takes as long as it needs to: Is as brief as is needed.
  

Photo taken by Amelia Charter
scan of 35 mm print

Handling the residual vibrations
hanging in the air.
transforming.
dissolving.

Compositional Gems within the Awkwardness of Improvisation.
The surprise and pleasure in Improvisation is whenever that something works. But also - loving the awkwardness. Many moments where we begin to notice composition and what makes a "successful" dynamic. Feel free to add one in a comment.

One laying down with the head propped against the wall.
Arms slack by the side.
In stillness.
Two to the left. One to the Right.
Kneeling.
Hailing the wall.
Open palms slamming the wall.
Palms sliding down the wall as the back curves. Flexes.
Head down.
Arms Down.
Then Lifting up.
Arching the back.
Arms suspended in the Air.
Before hailing the wall again.

Prayer.
Ceremony.
Ritual.

ABOUT SOUND:

• Prerecorded music was brought in. A persistent Cellist. Pieces composed by Phillip Glass, performed by Wendy Sutter. Noticing the difficult transitions when the stereo is turned on and then off. Then maybe on again and then off again. But also observing the power of music/sound to carry the space, transform the air, and influence mood. It can be overbearing.
  
• Continuing to use the voice organically, melodically, landscapes of consonants and vowels. Also Words. Trying stream of consciousness (unlocking cerebral pathways) talking again but this time allowing space in between the thoughts. Others noticing how spoken word overlapping or as an undercurrent, has the power to imply a narrative within their movement.
• Using sound, notes, rhythm, words as topography. Grounded. Earthiness. Anthropology. Healing.
• Becoming more familiar with the use of language in the laboratory. "Words crawling around on the floor." With us.