I had a ball today, working with Haim Isaacs. He is asking us to 'compose time' - to pay attention to the musicality in EVERY MOMENT, and everything that we do. And if we don't do it right, he tells us.
What is my role in this instant? Are we doing voice and movement at the same time? Just one person with voice? just one person with movement? You do movement and I do voice, I do voice and you don't move. There are a million possibilities in each moment, and each variation colours the feel of the moment in some way. DON'T DO EVERYTHING ALL THE TIME. How does the change of rhythm affect the relationship between you and your partner? We are aware of this - the idea of creating contrast and counter point, but thinking of it in terms of composition has been very helpful for me.
He asked us to respect the silence. To learn to love silence. To hold a silence for as long as we can, and then count to five. Slowly.
Loud isn't fast
Fast isn't loud
Quiet isn't slow
Slow isn't quiet
We then worked to make 'Sublime Moments'. 30 seconds, with no story, just an image. We were asked to use the poetry of the space. This was interesting to me because we have all made 'Sublime Moments' in hospital before, and with some partners, they come more easily than with others. What we were doing today was breaking down why they work when they do, so that we can make them happen at any time. It all relates to this notion of musicality.
We saw Jellyfish made from surgeons masks, hats and latex gloves floating past a window, someone chasing the reflection from a mirror and catching the light in their hand, a snake charmer clown coaxing their partner out of a giant piece of cloth. Some of them worked straight away, and the others did too with attention to rhythm and composition of time.
And FINALLY the work with Eric is starting to filter in. Only for moments at a time, and not all of it, but my body is starting to understand. I can sometimes make it look like my hand is moving involuntarily. I mean if that is all I take away from these three weeks than I am happy...
Hasta manana chipirones x
What is my role in this instant? Are we doing voice and movement at the same time? Just one person with voice? just one person with movement? You do movement and I do voice, I do voice and you don't move. There are a million possibilities in each moment, and each variation colours the feel of the moment in some way. DON'T DO EVERYTHING ALL THE TIME. How does the change of rhythm affect the relationship between you and your partner? We are aware of this - the idea of creating contrast and counter point, but thinking of it in terms of composition has been very helpful for me.
He asked us to respect the silence. To learn to love silence. To hold a silence for as long as we can, and then count to five. Slowly.
Loud isn't fast
Fast isn't loud
Quiet isn't slow
Slow isn't quiet
We then worked to make 'Sublime Moments'. 30 seconds, with no story, just an image. We were asked to use the poetry of the space. This was interesting to me because we have all made 'Sublime Moments' in hospital before, and with some partners, they come more easily than with others. What we were doing today was breaking down why they work when they do, so that we can make them happen at any time. It all relates to this notion of musicality.
We saw Jellyfish made from surgeons masks, hats and latex gloves floating past a window, someone chasing the reflection from a mirror and catching the light in their hand, a snake charmer clown coaxing their partner out of a giant piece of cloth. Some of them worked straight away, and the others did too with attention to rhythm and composition of time.
And FINALLY the work with Eric is starting to filter in. Only for moments at a time, and not all of it, but my body is starting to understand. I can sometimes make it look like my hand is moving involuntarily. I mean if that is all I take away from these three weeks than I am happy...
Hasta manana chipirones x