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For the first time, I tried to create in the form of physical translation and drawing. I think he can let me clearly convey a kind of big language directly through my limbs when I have no inspiration, so that the audience can directly interpret the most essential meaning.

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Choreographic practice (workshop in week 8 to 9 and Cannon practice )

https://youtu.be/E_mn85uX8CE?si=S5jxrCd055NMKyqV

By understanding the space, rhythm, relationship and speed of the creation of a work, we must reflect on the establishment of a work from the third vision. The relationship between each action and the space in which it is located. And why this connection is generated, and what kind of relationship will be in the whole work.

In the three choreography classes, if you take care of the works in the group, you can form a strong and weak rhythm and visual space impact through Cannon.

When the space and relationship in the work are emphasized in the two choreographer workshops:

Space can be divided into internal and external space. In each space, a foundation building should be built, and it should grow and develop from the building. And in the work, we can see the structural links of each stage, and understand that the technology of choreography using thinking to create gives dancers the opportunity to create twice in the limitation. The choreography is very clear. Starting from one point, the choreography will find other ideas and try together. Perhaps there are unexpected surprises in the choreography process, which is also a wonderful picture. Perhaps this is the most necessary node for choreography.

Combined with past learning, it is similar to the principle of 'motivated choreography'.

'Motivation choreography' is a method of choreography to guide creation through specific motivations and develop relevant dance sequences and movements. It can be through the speed and direction of different motivations. Strength, etc., to create different dance effects and emotional expressions.

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Materials captured in improvisation. The sense of gravity and stagnation of this material felt in improvisation use the control of the limbs to metaphorize a way of venting.

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I made a structural improvisation with a very emotional state.

This is a creative way I use in improvisation. Before starting, the shape of the environment will be established in the brain, fixed in an interval, but not limited by body language. After watching the video, the feeling given to me is the state of rift and loss. This is just a preliminary attempt without any implied beginning, but I have confirmed the development of this line.

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This is a written record before the creation began. I recorded the words and feelings in the restaurant very early. I sat in the restaurant and waited, seeing people coming and going and talking and laughing. Life is actually beautiful. The eyes can record colorful objects, the brain can precipitate the surging picture, and everything will become a memory that will take root and blossom.

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Journal

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solo

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"Last dance" —— Batsheva

Choreographer: Ogad Naharin

A dancer runs repeatedly from beginning to end, with the same speed and movement. It symbolizes the flow of time, and no matter where you are, you still spend every moment smoothly.

The dancers appeared on the stage one by one. The dancers were "unfolded" in the theater as living people. The energy and characteristics belonging to the dancers were constantly generated and diffused, forming a sense of coexistence and communication with the audience. The emotions expressed by each dancer come from the understanding and recognition of the world. In the personal route in the stage space, the choreography is mixed with two people through an air outlet, perhaps intending to collide with creatures at the same time.

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"I wonder where the dreams I don't remember go"

French choreographer Yoann Bourgeois

The first cooperation with the Dutch dance group NDT1 Troupe New works in 2020

The choreography seamlessly connects dance and acrobatics, and discusses the topic of "how to find a balance in change". Six performers ran on a square wooden tray, swayed, constantly imbalanced and adjusted, trying to portray the fragile cohesion of a group in a state of coexistence in a delicate and poetic way.

In Bourgeois' eyes, the six actors on the stage form a miniature society. They need to try to stand on a constantly rotating and changing board, and they also need to respond to the condition they face. Individuals begin to "compe" with each other because of the limited space, but they can't leave each other for the sake of balance. The multiplicity of physical principles directly leads to the diversification of results," Bourgeois explained.

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Some ideas of fragment time

The end is the beginning. Life is constantly moving out, but it is often guided by time, approaching, converging, mingling, and looping countless times. Even if it has reached the established end, a new round will begin...

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"Data Player" conveys with dance.

The dataization of contemporary society is serious, and everything needs data. It calls on everyone to pay attention to reality and the heart.

A friendly match between China and India is about to take place! A Chinese-British mixed-race teenager and his "aunt" of Indian-British descent argue about the roles of two cultures through instant messaging programs. In the endless words, voices and emojis, their confusion about identity and values is invisible. An endless stream of data poured out from the giant screen on the stage. The dancers of the two dance troupe played the role of accountants, sometimes fighting and sometimes cooperating in front of the computer to filter out messy data. In the era when human beings quantify and compare everything at all times, it is not easy to break through stereotypes and establish a connection between people.

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《0 degrees》

Choreographer: Akra Khan/Sidi Larbi Cherkaoui

The work combines Indian dance culture with modern dance. In the work, we can see the impact of identity and emotion. The combination of traditional elements makes the work present a unique expression and language.

0 degrees is another meaning of temperature, people's hearts, society, and things that have passed away. In the vocal solo part, the longing and desire conveyed by the dancer from the heart, as well as the compromise, are completely revealed. Simple actions and sincere emotions tell something about what they are facing. The work uses lifeless humanoid sculptures. The dancer's embrace, narrative and impact of the props shows the game and unity of the phenomenon. On the other hand, what the two dancers expressed was the experience of lifeless humanoid sculpture. At the moment the dancer left the stage, only the props were left on the stage. I believe in their story very much, a very energetic and energetic work.

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information

Choreographer/Dancer: Wu Xinyu

Music ：Trioon || / Garment

Time ：6’20

Description : The end is the beginning. Countless convergences, fusions, cycles. There is no end, and a new round will begin...

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Source of inspiration:

This is about conveying the inner ideal state in body language.

The inspiration of the work comes from a paragraph I have read,

"The birth is like a peng,

and the end is like a whale falling.

A whale sings and the sea is quiet.

A whale falls and all things are born”

Therefore, the first improvisational display in the classroom pays too much attention to the description of the whale form, and the heart is full of desire and gift for everything in the world. Therefore, there is a form of gesture reserved in the fragment. After that, I continued to read this text, which would make me read a deeper layer of meaning:

It expresses that a person's life should spread its wings like Dapeng, pursue ideals and freedom, and finally return to peace and nature like a giant whale into the sea. It reflects the ups and downs and changes of life, with both magnificent pursuits and tranquility.

This contrast between "up" and "fall" emphasizes opposition, unity and interdependence; life is changeable. Although it has different paths, it eventually returns to the heart and returns to nature.

I still feel the infinite vitality in the words. Birth, change, growth, destruction. I want to interpret the natural and great vitality, explore in growth and destruction, life is a cycle, and how will I match the staged me in my heart.

At this point of analysis, the word "I" is displayed.

This is my second post-reading impression. From this, it is feedback to the second display in the classroom. I give a vertical route and want to interpret it endlessly. I have been exploring and pursuing the beginning process. After this display, I will know more about the expression I want and what I don't want. Therefore, during the rehearsal, I will always ask myself the meaning of each stage of arrangement.

In the third display, I will determine my own way of expression. I will be sure of what information can be fed back to me in the whole fragment. In the process of your own performance, how good it is to really make yourself settle down and quiet down.

Conception process:

After text-feeling-analysis, I have been looking for the color of this map in the process.

Although the poetic words overwit the greatness and dedication of vitality. But on the other hand, what kind of emotion is it?

In fact, in the creation, I am opening myself up step by step and realizing that this is a new beginning. I think countless cycles and eternal cycles surround me. This is also a process of exploring oneself, so when looking for materials, you will not dwell on the connection of creative actions, and all follow the expression of the heart.

1. In a line, it is a kind of loss and concealment to turn your back on the audience, and it is a kind of exploration and desire to face the audience.

2. In the conflict situation of foot crushing and boxing, it can be interpreted as a kind of closed impact, breaking through one's own ability in a certain aspect, and blocking some shy colors.

3. Similar to the structure of hand movements is demand, desire, pursuit, and many words rotate in my mind.

4. The gravity band of the instep fluctuates periodically.

5. Inspiration and ending everywhere need to be reserved calmly.

Summarize the amount of information in the fragment with five short and most common words, which is also a combing for myself. I will have a clearer understanding of the fragments, so that the accuracy of the feedback is in the performance.

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Harvest:

I carefully dug out my own thoughts on it in a paragraph of text. After this stage of thinking, I accurately understood my inner thoughts, so I started without any worries. Therefore, in the creation, I think sorting out the structure will be more clearly expressed than purposeless choreography, and the movements can produce many results through the limbs. Secondly, I have been creating in an emotional way, but this does not complete the task well, resulting in low efficiency. So I must integrate rational thinking and emotional expression in practice.

Challenge

I discarded the most comfortable creative techniques and edited the music by myself. Whether in action language or music production, I will change the inertia of the past. Therefore, I am discovering my own progress and thinking. Therefore, in the fragment, I can accurately know the meaning and starting point of the action, which is some of my thoughts and progress.

Success: No matter what the fragment is, I am in the process of growing up and practicing. When a fragment of creation is completed, if I feel comfortable and longing in it, I think it may be a sprouting seed.

Failure

In a limited time, I didn't make full use of the time to create, resulting in the need to recall the structure and action in every class presentation. This is because I failed to give myself an accurate answer. I hope that I can use my time reasonably and complete the task well. Secondly, I still expect that I can liberate my limbs and heart again and make my creation bolder.

Future:

Now that the seeds have emerged from my heart, I expect that I can complete it into a ten-minute work and complete the next plan well with the existing materials. And in the current practice, I have collected some music that has not been applied.

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On the whole, in the creation of this fragment, I found that I was changing my limbs and creative style. The task was completed in just three weeks. It may not be perfect, but I can feel the vitality of each symbol feedback to myself.

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I read "A Choreographer Handbook", and the author mentioned the source of inspiration, the process of conception, the development and organization of movements. And share his creative experience and methods to help readers understand how to build a dance work. Therefore, I will begin to reflect on the accuracy of thematic action research. Both in the source of inspiration and the creative action, it draws on the 'repetition, inertia' and other methods mentioned in the book, so that links are generated in theory and practice.

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Silent Speech: Interpretation of Dance Body Language is a book that explores the body language in dance and its expression, emphasizing that it can express emotions, thoughts and social relations as a non-verbal communication method in dance. The author discusses how dance conveys complex emotions through body movements, postures and expressions, and analyzes the emotional connotations represented by different movements.

In the book, I found the emotional expression in creating solo and how to choose and decide the action. I will think about the inner connection between this action and my own while creating the action.