# data[].attributes.body
the mirror points (2009)

# data[].attributes.body
performance interactivity. audience immersed in the same space as performers

# data[].attributes.headline
WEEK 1 READING: The Odin Actor. Ian Watson.

# data[].attributes.subject
WEEK 1 READING: The Odin Actor. Ian Watson.

# data[].attributes.body
The actors are at the centre of theatre making at the Odin, something I believe our Pop group and Fiona want to achieve. With the use of letters, memorys and other elements of our lives - we tend to create a performance which is centred around what we want to show as performers. One element that we are going to explore is improvisation, this being something the Odin actors explore to. (Watson, 2013: 400)

Similar to what we've have been doing in class, with the images around us, memories and events - Barba determines a subscore for the actor's improvisation which consists of a narrative of the aforementioned stimuli. (Watson, 2013: 401)

Barba brings together the improvised sequences making them into a group performance. Similarly to what I want to create in our end performance.

# data[].attributes.headline
WEEK 1 READING: Moving Intelligence. Mary Whitehouse.

# data[].attributes.subject
WEEK 1 READING: Moving Intelligence. Mary Whitehouse.

# data[].attributes.body
She states that firstly movement is a part of our lives. The world, animals, us etc - we all move. We as humans move physically (sitting, standing) and internally (organs, nerves, blood) but also our speech becomes a part of movement as it is on going. She highlights that non-verbal communication occurs more than we notice. Our bodies talks without speech. We can illustrate things through our bodies emotionally and physically - tiredness. nervousness.

Copying walking exercise - Whitehouse notes that we are unaware of how we move in life. Fiona made us get into pairs and copy how the other one walks. Straight away people we noticing that I was copying Edie's walk as we notice everyone else's except our own. Edie had been told before that she moves her hips a lot but was not aware of this physically. I was also aware that I apparently 'strut' when I walk but I can never physically notice, only notice when I concentrate on my walk. From this exercise, I do often think about my physical body when walking in public.

Technical term for feeling one's body move: Kinaesthetic Sense.

"The less the body is experienced, the more it becomes an appearance; the less reality it has the more it must be undressed or dressed up; the less it is one's own known body, the further away it moves from anything to do with one's self" (Whitehouse, 1995: 245)

From moving and using this sense, people can understand the ways in which their bodies move and what their body is capable of doing. One women in her class notes that her arms can do more than her legs. What little they could do, helpless - she describes her legs. Another women felt as though her middle part of her body was missing, sense of balance and awkwardness instead of her middle.

Similar to this Fiona got us to walk around the room and lead with different parts of our bodies when having to change direction. One of us would shout out a body part and we would have to swing with this body part in order to walk into a different part of the space. Weird to see what came natural to me (knees, feet, arms, hips - dance a level) but some things were not as comfortable.

# data[].attributes.body
Projection of a shared childhood image on the stage. Use of movement to recreate the memory. Movement to be more choreographed and unrealistic as the memories can never be revisited but are always remembered more beautiful than realised at the time.

Park - Dance based around the sea-saw, the swing the roundabout etc

# data[].attributes.headline
Open Ended Group: Image of 'Into the Forest'

# data[].attributes.subject
Open Ended Group: Image of 'Into the Forest'

# data[].attributes.body
'The experience is akin to plunging back into the daydreams of childhood, which can be glimpsed again but never quite recaptured.'

# data[].attributes.body
NHS R AND D PROJECT - Audience experience the performance through hospital beds. Performance from a different view and perspective.

# data[].attributes.attachment_link.description
What are the tensions in the NHS? How do we value care in an increasingly pressurised environment? What will happen if we sell parts of the service off? R and D Performances at ARC, Stockton Jan 30/31 and Feb 1 2014

# data[].attributes.body
'Real-time movement is captured by onstage cameras and subsequently “trapped” inside the surface of the video screen. The dancers see their images in confinement while experiencing their bodies in relative freedom; yet, psychologically, each feels more attached to the projected image and its tight parameters than to the open space available. Surfacing poses the view that there is a choice to be made: identify with an image and you are captured and entrapped, experience yourself in the moment and you discover unquantifiable potential.'

# data[].attributes.body
DOPPELGANGER: DANCE OF FORGOTTEN STEPS. Creating a dance of shadows.

'Wherever we go our shadow walks with us casting a silhouette of our physical body on adjacent surroundings.'

' The piece captures a series of pedestrian gestures, creating a collage of interweaving shades of light inspired by early stop-motion photography. Once the viewer steps into proximity of the installation, sensors trigger a fluid, cinematic encounter with Doppelganger. Human presence activates an ethereal bridge merging the viewer’s casted shadow with the projected light.'

# data[].attributes.attachment_link.description
Alvin Ailey said that one of America's richest treasures was the cultural heritage of the African-American experience - "sometimes sorrowful, sometimes jubilant, but always hopeful." This enduring classic is a tribute to that heritage and to Ailey's genius. Using African-American traditional spirituals, this suite fervently explores the places of deepest grief and holiest joy in the soul.

# data[].attributes.body
Interested with the combination of dance with drama.

The people that have had the most influences on me have used political and social events in order to create their work. Studying both drama and dance in gcse, I have always remembers these pieces the most as they have had something to express.

Christopher Bruce.

Alvin Ailey. We had to study him in depth for year 13 as we had a whole essay to write in an exam on just him. His dance Revelations is based on his time growing up in Texas, where him and his mother experienced a lot of racism. Mother was raped by white men and he created this dance to show his life and to illustrate what a lot of African-Americans went through.

I also studied Martha Graham for gcse and some might have heard of her as her technique was used by a lot of dancers and it still gets taught today as a main learning technique. Steps in the street (1936) was based on the Wall Street Crash in '39, the depression that followed and also the Spanish Civil war. It focused on depression and isolation - this is through the use of a blank dark space and the black dresses which make the dancers look pale and chiselled.

Coming to uni and taking Georges pop 1 class helped me understand what my interests were. Clearly physical theatre. He educated us with works from DV8 and frantic assembly.

DV8 for example, their work reflects Lloyd Newson's personal interests with social, political and psychological interests. Can we talk about this? deals with freedom of speech, censorship and islam.

# data[].attributes.body
'There is an unusual level of political, social and ecological awareness in Bruce’s choice of subject, for those who die as cattle (1972) and Land (1985) evoke the horrors and devastating effects of war; Ghost Dances, Silence is the End of our song (1983) andSwansong (1987) are concerned with political oppression; Nature Dances (1992) and Stream reflect his response to nature.' (Watson, Suite101)

# data[].attributes.body
This dance has a truly powerful, political statement. Bruce based this dance around South America and on their peoples lack of human rights. People were being taken away, tortured and killed for being too outspoken and not following their governments 'norms'. The ghosts of this piece represent the death and also the government. The cave like setting represents an entry to an underworld and the dancers are dropped suddenly or dragged away to represent death.

# data[].attributes.body
"Into this world. Vanished. Speechless. A few steps, then stop.
Stare into the space. A few more. Stop and stare again. Still hear the buzzing.
Sudden flash. The buzzing? Yet all this time, buzzing, in the skull, all this time.
This ray or beam. Scream for help (Whisper). Shut out the light. Dead still. Alone."

Performer would be alone in a vast space - very dim lighting for visual. Maybe none if we wanted to focus on the voice. One by one, performers and audience members would walk up in their own time creating a circle around me, creating a confined space. One or two performers will pull up a chair and perform the monologue in their own time and way. The audience will obtain a different understanding as each performer performs the monologue and will interpret each performance differently.

# data[].attributes.body
I had to study this in gcse and just love her use of movement. From 1 minute 50 secs, the dancers create a snap shot imagery. This is my favourite part and the choreography I always remember.

# data[].attributes.body
"Choreography happens everywhere, all the time. The setting up of a room for the enjoyment of a household involves the creation of a movement constellation. It crafts opportunities for moving-through, creates invitations for sitting-with, provides incentive for getting-there-first. It forecasts an ideal place-taking: the perfect chair, the best view, the closest comfort. And it creates opportunities for difference: you can walk around the chair, dance on the couch, sleep under the television. Chances are, though, that your movements will take the space-as-is for granted, that you will return to the comfort of the position you prefer each time, that in time you will realize there are whole areas of the room you never really attend to. Habits set in. Even the cat is always in the same place. The space moves you in a way that does not force you to think." (Manning, 2009)

# data[].attributes.headline
Gideon Obarzeneks Digital Moves. (Youtube)

# data[].attributes.subject
Gideon Obarzeneks Digital Moves. (Youtube)

# data[].attributes.body
Incredible use of dance and digital software. Would love to create something like this with the use of movement but also spoken words. How affective would it be when speaking the words and they are then projected around on the floor? Or dancing the words and they are then projected around the space - highlighting to the audience what the movement means.

# data[].attributes.attachment_link.description
Hailed by The Australian as the countrys best modern dance company, choreographer Gideon Obarzaneks Chunky Move dazzles audiences with its use of site-specific installations and interactive sound and light technologies. Obarzanek's avant-garde performances explore the tensions between the rational world we live in and richness of our imagination.