Summer Solo Studio Practice #10

I start with improvisation today, feeling already in the creative mood. I’m tired from a bad night’s sleep but I’m anxious to move.

A restless mind sometimes encourages an energized body.

Temporarily at least.

I focus on the bloodstream, sensing the distance of my body, the inner channels I can take. Being in the city has me craving fluidity, flow, a liquid sensibility to counteract the concrete, the hard wall of heat and noise. 

The space I’m in today is small, and I decide to change the spatial design of my study to fit it. Overall, I think the confinement makes it better. Some depth of movement is lost, but I think I can get that back with a bit more room to move.

I tweak the text a bit, hopefully making it more general, less heavy-handed. I’m still struggling to find a way of leaving the traces of my ideas without spelling them out. Typically,  I give up on the more concrete ideas becoming legible to audiences and let the movement be primary.

Sometimes this works well. Sometimes this creates work that no one can relate to.

I return to the movements with urgency, doing them over and over. If I stop, I’ll get tired. Better to forge ahead.

I find new corners, new facings. I’m starting to thinking about this in the round, or maybe just a non-proscenium setting? Perhaps the ideas I’m working with are less about content and more about context.

Can virtuosity and abstraction belong in a living room? A kitchen?

Or can I bring the sensation of house to the stage? I’ll make it my home.

I’m still preoccupied with this idea of blood and bones, not in a horror-movie sort of way, but in “this is what I’m made of, this is what I work with” sort of way.

 I attempt to visualize this sense of a  beating, streaming fullness of the body:

20170615_165519

I leave the vigorous movement for a while and think about what’s next. What else to explore?

I return to the floor and the idea of my liquid body. I use my body landmarks list for reference.

I love the shift in quality from the swinging and slicing of the other work. Perhaps that ferocity is just a prelude to another section, something softer but more open and and subtle, more room for interpretation.

 

 

 

 

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