So since we already had a combination which I call “failure combination“ for now, I repeated that one just for memorizing it better.
Than I was working on the three named points on how to make the piece harder for them, so that it becomes honest failing moments on stage.
Those points where:
- I can make it faster in the end of the progress
- use some kind of body restriction
- create a movement sequence on paper
So I started experimenting with the last point today.
I gave them a piece of paper with a written combination on it.
I tried to use as wired movement orders as possible to make it a little harder.
The task was to read it and learn it by heart, but not try it out, just by imagination.
The choreography on the paper was like this:
- fall backwards on your back
- go into a candle, with legs in 2nd position
- come up to standing over your right site
- jump to the front with your arms forwards
- bring your legs with you and turn up to standing
- jump three times in a 4th position changing legs
- land in sitting in 4th position
The dancers got as much time as they need.
Some felt more comfortable as the others. But it definitely was an unusual terrain for all of them.
Then I let them dance out the combination all together, with music and filming.
This is what came out of it:
My results on that are, that their movements turned out a little different on each of them. Means if I would definitely want them to do exactly the same movements I would have to be more specific in how I write down the combination and also write down the pathways for them.
So everybody had their own interpretation on how to accomplish the movement, which I actually liked a lot though.
The nice thing about it was, that I could see clearly that each of them had a clear picture in his mind of what movements they were going to dance. So the written choreography gave them a guideline throughout the choreography.
Other than that, their movements became quite insecure, which I didn´t like so much.
But my question is, if I could eventually solve that problem by giving them more time to learn the piece on paper. For example giving them a very specific, detailed and exact written choreography, almost two weeks before the performance, maybe even more and let them dance out the piece the first time on stage.
I could even imagine them to have a look on the paper on stage, quite briefly before they start dancing it out on stage. I´d like to include the imperfect preparation for that piece.
So idea three of how to make the “failure combination” failing could work, but also puts the dancers in a really sensitive and challenging position. (Which I like though:-)
After that part of the rehearsals I started working on a another thought for the combination.
I got inspired by the thought of using kind of dogmas in the piece.
I like the idea of managing a movement, cause of a strong will, a passion. So what I was thinking of, is to let my dancers say those dogma to themselves why they are dancing. As if they were trying to give strength to themselves and make them able to accomplish the movement better, by assigning a positive and confident sentence to themselves.
Whatever version of how to make the combination harder or failing, I am going to use, I would like to include those sentences.
An example of what I mean.
If they are doing e.g. a handstand in the combination, I would let them say: “ I love the handstand, I love the handstand, ...”
They would probably say it more often than once, since they are suppose to assign to themselves and get better by a better influence of themselves.
An example of that try:
The result of that idea is, that I think it´s working pretty strong. Sarah is even using some other words in between, like “ I love the fish, though it never works” (in another version than in the clip). I think it could use even more confincing speech. Means really using the sentence more often as a matter of adjudicated words.
I liked that they started feeling more free in it and really tried to say those sentences to themselves to make them work better.
Though not all of them felt comfortable with it yet, cause it wasn´t honest for them yet. Means they couldn´t honestly say those sentences to themselves, cause they didn´t like them.
I actually don´t want to make them say it, cause it would be fake.
So maybe I will let each of them choose movement by movement if they either say “ I love..” or “ I hate...” .
With the “ I hate... “ though it´s a different thing, but if they use it in a positive way, it can still give them the power to achieve the movement better and to bring honesty to the light, like e.g. : “ I hate the fish, but I can do it.”
Another thing I noticed, is that the movement became more intense when they failed in them, after you heard, that they loved it. The passion is more emphasised in this idea.
I also added more material to the combination they already learned and taught it to them.
The rehearsals went OK. The dancers got challenged to put themselves out, being vulnerable on “ stage” by using new forms of presenting a piece.
The next rehearsals I will use on continuing on the movement sequence and try out the two other points of how I could make the piece harder to achieve and open for honest failure.
I´d also like to start working on how to include the music pieces in the choreographic work and in the “ statements of failure” thought.
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