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Love your work here! very interesting to see you in a ring of light that gave  you a restriction, found this intriguing, and your piece was in black and white maybe because you didn't want to focus on emotion but the movement. I loved how you used a lot of circular/ round movements and isolations. The speed of movements didn't decline but was always the same speed and leveled which i never seen before. Amazing Job!!  -Lina

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Amazing work Laura!! it was beautiful and lovely to see the choices you made and fluidity your movements had. I can definitely see you exploring the limited space and the concept of it went so well. I can also see a battle happening with you and the space around you, especially the wall. When i saw you take a hard look at the wall, i thought something is going to happen but at the same time I saw you caressing the wall and wanted to see more of that relation. There were moments of stillness and moments of rapid movements. Love your movement quality and your exploration. One more thing, just a little film decision i notice that you didn't use any video cuts which i thought was such a great idea for this piece because it shows that nothing stops but what can happen, time keeps going. -Lina

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Interesting work! Both 1and 2 studies. They seemed opposites for sure in a sense that 1 was more grotesque and weird and rounded, even though abrupt, and two had more upright and angular torso at times. One was  light color and the other dark. Did the music come afterwards? or  were you dancing with it?
Regina

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Laura, loved your use of modifying the video to have this blurry effect. I see your strength as you push and pull off and towards the walls...but I would love to see some, broken, almost weak fragility. Just a contrasting tone in your body could be interesting at moments.
great job :)

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Wow, what a specific and interesting etude assignment Laura! I could definitely see you were investigating into something...I loved the choice to go black and white and with the strip of lights around you to really circumscribe that "in the round feel." You have an agile and powerful quality when you dance. That really shined through in this.
- Dorrie

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"I wanted to blur the space
because I felt like the space between dance movement and the construct of musical scores can be very blurry."
-I love this and think that it reads super well. I think I would have loved to see you explore the different way you could have interacted with the walls of your hallway.

I am also wondering if you could have found moments of stillness with the walls. I loved when you moved along the walls--it seemed almost to me like they were treadmills- so cool!

Thanks so much for sharing! Gorgeous! -Gia

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1. Does it strictly adhere to the music score?
-I thought you did a nice job adhering to the score with your upper body. I could see the music flowing through your torso.
2. As for the brass moments with the legs, I felt like I translated the music of the brass to my leg choreography poorly. Can you think of any methods or movements that would really personify the brass sections?
-I didn't think that it translated poorly. However, I do think it would be interesting to take a peek at the score of music and to look only at the rhythm of the brass and maybe choreograph your legs rhythmically. Could be interesting!
3. Any and all other notes or questions or comments - I just want to know your thoughts!
-I loved the space and I thought it supported your in the. round concept well. Nice job!

-Gia

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This study will be presented as a narrative dance film. It will explore the hierarchical struggle between dance and music. It will utilize the relationship between composer, Stravinsky and choreographer, Balanchine as its main reference of narrative. The camera will be choreographed as a dancer. The choreography of the camera will explore the embodiment of transition. The goal of this film will be to suggest narrative without this utilization of film cuts. It will be shot with steadicam in a single shot.

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https://www.youtube.com/watch?v=O8qHbvDHVXc

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This was my comfort zone project. I changed a lot for the original plan here but I still included it on this padlet below. I wanted to dive into a bigger project with my filmmaker but alas, COVID derailed that. Instead, I really dived into the concept here between the hierarchy of dance and movement. I decided to film in a skinny hallway because I wanted to explore the limited space that music can sometimes provide us as choreographers and how we have to a lot of the time develop work within that small space. Also utilizing the walls as that comfort of rhythm and presence. I tried to both pull away from and be supported and comforted by the walls of the hallway. I also purposefully blurred the film and did not use a steady cam. This was half necessity as my filmmaker was unable to be present and half a happy coincidence. I wanted to blur the space because I felt like the space between dance movement and the construct of musical scores can be very blurry. It feels like an etherial abstract dream space in my experience. The hierarchy is often full of subjectivity and undefined parameters. I also meant to contrast the softness of the music within the movement. I choreographed the movement without the music in contrast to my other study which was entirely based off of the score. Anyways, I feel that it needs a lot of exploration and intentionality still. My questions for you are
1. Is the concept showing through the work? Where is not?
2. What other questions about the concept come up for you?
3. What are the gem moments? How would I (in your imagined world) dive into those gems in a more fulfilling way?
4. Any other thoughts, comments, questions, critiques

Thank you all! Sending all my love

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This study will be strictly adhering to the artistic theory of classicism. It will therefore lack any intention of concept or narrative. This study will be performed live and will be choreographed for an audience in the round. The choreography will be mathematically created via disjointed formulas prescribed to the body. The legs, torso, and arms will each be given a unique choreographic formula. The facing of the body in the round will also be given a separate formula. These formulas will be derived from the sheet music of the sound score. The brass will designate the legs, woodwinds - the arms, strings - the torso, and percussion - the facings.

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https://www.youtube.com/watch?v=0cRSf5kwWLo

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This was my challenge study. See below for original research plan. So what changed through the process - well firstly I didn't perform it live. However, I did choreography it with the sensibility in the round. It was super difficult because the piece of music I chose was mostly strings and not that much percussion. I like it though and I want to go further with this guy. My questions are
1. Does it strictly adhere to the music score? And if not, where does it stray?
2. As for the brass moments with the legs, I felt like I translated the music of the brass to my leg choreography poorly. Can you think of any methods or movements that would really personify the brass sections?
3. Any and all other notes or questions or comments - I just want to know your thoughts!

Thank you! See video and study plan below for reference!