How do we know when it's time to leave and when to stay?

starting on the F L O O R.
spread out like an X
Bending the body, staying in contact with the floor, hands and feet arc towards one another
then rolling over and curling the elbows and knees towards one another
stretching along the diagonal
pulling in then expanding back out
reverse
both sides
allowing the movement to take you up into sitting
reaching the leg out and bringing the body up

S H A P E
the perceptual ability to see and feel physical form

Working from the warm up into the awareness and isolation of the viewpoint. Landing in place of stillness when seated, continuing to unfold and fold the body, noticing the S H A P E of the body. architecture. geometry. where something starts and stops. the boundaries of the skin, of the body. Slowly at first, really settling in the place of the shape. Developing an acute awareness within the moment of stillness. Shifting in and out of it. Really getting it. Listening. Heard.

Rachel Denny, Green Doe, 2008

W O R D S
While moving from the floor to seated and the in betweens, pausing for moments to notice the shape, we began to articulate words or sounds that impulsively, intuitively came up with each shape. I've been trying to find ways to integrate the voice into the viewpoints practice. Open the doorway to the voice. ... muffins, frog, clothesline, lawn chair ...
In the future- somewhere I'd like to go with it: Looking at it anatomically. Playing with the shape - the space - the time - the...... of the larynx. the voice box. the mouth. the throat. the chest. the belly. the......

Kate MccGuire Sculpture

SHAPES MOVING STILLNESS
words to describe that, to hold it, to fall into it. The language of it.

then - running rapidly through all six - a mistake - too much. keep it simple. keep the focus.

E N T R A N C E S A N D E X I T S
For this we stand around the perimeter of the room. A number is called out, no larger than the number of people in the room. Whatever number is called out is the number of people that need to be in the performance - mostly in the center of the room this time. New numbers can be called out as quickly or as far apart as needed.
Noticing numbers were evolving 3, 2, 4. Accumulation and Disintegration. We also saw how the shifting number of people in performances can frame a moment, a narrative. However, it moved along so rapidly that it was hard to allow anything to develop. We all wanted to call out 1 - to see 1. I think a different kind of intimacy happens with a solo person.

Finding an entrance into the open improvisation with corridors, the viewpoints, group awareness.