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\u00ab\u00a0DYNAMIC\u00a0\u00bb est le dernier solo que la chor\u00e9graphe Deborah Hay a cr\u00e9\u00e9 pour le projet SPCP (Solo Performance Commissionning Project), projet qu\u2019elle a men\u00e9 entre 1998 et 2012. Pendant une p\u00e9riode de 10 jours Deborah Hay transmet la partition du solo \u00e0 une vingtaine de danseur.ses\/performeur.ses. \u00c0 la suite des dix jours de r\u00e9sidence, les participants s’engagent \u00e0 r\u00e9p\u00e9ter la partition chaque jour pour une p\u00e9riode de neuf mois avant de le pr\u00e9senter publiquement en tant que spectacle. Le titre et l’origine du travail sont les m\u00eames tandis que l’interpr\u00e9tation singuli\u00e8re de chaque danseur donne vie \u00e0 vingt solos diff\u00e9rents. Pour tout dire, la p\u00e9riode d’engagement \u00e9tait de trois mois jusqu’\u00e0 \u00ab\u00a0DYNAMIC\u00a0\u00bb. \u00c9tant donn\u00e9 que ce solo allait \u00eatre le dernier du long projet SPCP, Deborah nous a fait le cadeau surprise des neuf mois de pratique journali\u00e8re. Le moment de la signature du contrat \u00e9tait assez paradoxal, comment pourrait-on v\u00e9rifier que chacun.e r\u00e9p\u00e8te la partition tous les jours ? C’est impossible, on en convient, mais voil\u00e0 … quand il s’git de Deborah Hay l’impossible et le paradoxe deviennent des cartes joker, c’est clairement gr\u00e2ce \u00e0 elle que le jeu tourne \u00e0 la faveur du celui et celle qui sait les utiliser. J’\u00e9tait bouche b\u00e9e en apprenant le temps de grossesse de ce solo mais j’ai quand-m\u00eame ador\u00e9 ce moment d’absurdit\u00e9. <\/span><\/p>\n [\/et_pb_text][et_pb_toggle title=\u00a0\u00bbDESCRIPTIF\u00a0\u00bb open_toggle_text_color=\u00a0\u00bb#444444″ open_toggle_background_color=\u00a0\u00bb#ffffff\u00a0\u00bb closed_toggle_text_color=\u00a0\u00bb#ffffff\u00a0\u00bb closed_toggle_background_color=\u00a0\u00bb#7c7c7c\u00a0\u00bb icon_color=\u00a0\u00bb#ffffff\u00a0\u00bb use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb icon_font_size=\u00a0\u00bb12px\u00a0\u00bb _builder_version=\u00a0\u00bb4.6.3″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb title_text_color=\u00a0\u00bb#444444″ title_font=\u00a0\u00bbAbel|||on|||||\u00a0\u00bb title_text_align=\u00a0\u00bbleft\u00a0\u00bb title_font_size=\u00a0\u00bb20px\u00a0\u00bb closed_title_text_align=\u00a0\u00bbleft\u00a0\u00bb body_font=\u00a0\u00bbAbel||||||||\u00a0\u00bb body_text_align=\u00a0\u00bbleft\u00a0\u00bb body_text_color=\u00a0\u00bb#444444″ body_font_size=\u00a0\u00bb14px\u00a0\u00bb body_line_height=\u00a0\u00bb1.2em\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb custom_margin=\u00a0\u00bb||||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb|50px||50px|false|false\u00a0\u00bb border_width_all=\u00a0\u00bb0px\u00a0\u00bb]<\/p>\n \u00ab\u00a0DYNAMIC\u00a0\u00bb a fait l\u2019objet d\u2019un film documentaire autour du processus de transmission\u00a0: \u00ab\u00a0Turn Your F*^king Head\u00a0\u00bb a \u00e9t\u00e9 r\u00e9alis\u00e9 par Becky Edmunds et produit par Rutledge Books.<\/span><\/p>\n \u00ab\u00a0Tu rentres, avec l\u2019air de quelque chose comme un canard. On peut dire que tu te sens b\u00eate, et on peut voir que tu ris de toi m\u00eame. En avan\u00e7ant, tu cherches un endroit pour couver.\u00bb<\/span><\/p>\n La partition de \u00ab\u00a0DYNAMIC \u00bb commence comme cela, par les postulats \u00abtu te sens b\u00eate\u00bb et \u00abtu ris de toi m\u00eame\u00bb\u00a0: d\u2019embl\u00e9e le r\u00f4le de l\u2019humour, de l\u2019inconfort et de l\u2019absurde est pos\u00e9. Le solo continue par une suite d\u2019indications spatiales tr\u00e8s pr\u00e9cises dans lesquelles Deborah Hay dit avoir inscrit ses danses les plus belles.<\/span><\/p>\n L\u2019acte dans\u00e9 dans la pratique de Deborah Hay est guid\u00e9 par l\u2019application constante d\u2019un certain nombre de questions qui mettent en jeu l\u2019\u00e9tat cellulaire du corps. La composition de la danse s\u2019adresse donc \u00e0 quelques dizaines de milliers de milliards de cellules en m\u00eame temps, en relation \u00e0 l\u2019environnement et au temps qui passe.<\/span><\/p>\n La t\u00e2che \u00e0 accomplir est impossible. La richesse du travail n\u2019est pas dans un r\u00e9sultat \u00e0 atteindre, l\u2019invitation \u00e9tant m\u00eame de ne pas vouloir apprendre comment faire.<\/span><\/p>\n Il s\u2019agit plut\u00f4t de partager la recherche incessante dans laquelle le corps en mouvement \u00e9volue. Ce sont les perceptions du corps qui bouge qui d\u00e9voilent la composition au sein de la partition du solo et fa\u00e7onnent l\u2019esth\u00e9tique du geste.<\/span><\/p>\n C\u2019est l\u00e0 un renversement qui s\u2019op\u00e8re : affronter la performance \u00e0 partir de la certitude de ne pas pouvoir r\u00e9pondre \u00e0 ce qui est demand\u00e9, de n\u2019avoir aucune chance d\u2019y arriver en acceptant de ne pas savoir. Un r\u00e9cit de l\u2019attention se dessine dont le sens demande \u00e0 \u00eatre formul\u00e9 par des circuits non-lin\u00e9aires.<\/span><\/p>\n [\/et_pb_toggle][et_pb_toggle title=\u00a0\u00bbPARTITION DU SOLO\u00a0\u00bb open_toggle_text_color=\u00a0\u00bb#444444″ open_toggle_background_color=\u00a0\u00bb#ffffff\u00a0\u00bb closed_toggle_text_color=\u00a0\u00bb#ffffff\u00a0\u00bb closed_toggle_background_color=\u00a0\u00bb#7c7c7c\u00a0\u00bb icon_color=\u00a0\u00bb#ffffff\u00a0\u00bb use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb icon_font_size=\u00a0\u00bb12px\u00a0\u00bb _builder_version=\u00a0\u00bb4.6.3″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb title_text_color=\u00a0\u00bb#444444″ title_font=\u00a0\u00bbAbel|||on|||||\u00a0\u00bb title_text_align=\u00a0\u00bbleft\u00a0\u00bb title_font_size=\u00a0\u00bb20px\u00a0\u00bb closed_title_text_align=\u00a0\u00bbleft\u00a0\u00bb body_font=\u00a0\u00bbAbel||||||||\u00a0\u00bb body_text_align=\u00a0\u00bbleft\u00a0\u00bb body_text_color=\u00a0\u00bb#444444″ body_font_size=\u00a0\u00bb14px\u00a0\u00bb body_line_height=\u00a0\u00bb1.2em\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb custom_margin=\u00a0\u00bb||||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb|50px||50px|false|false\u00a0\u00bb border_width_all=\u00a0\u00bb0px\u00a0\u00bb locked=\u00a0\u00bboff\u00a0\u00bb][Instructions for how to say the title for this dance when addressing a person(s): first turn your head right or left before turning back to say \u201cDynamic\u201d.]<\/p>\n \u201cDynamic\u201d (2012) choreography, text, and direction: Deborah Hay<\/p>\n With: \u201cIn order to get the most from this work, you will want to notice and redirect your reliance on your physical body and what it can do. Redirecting this dependence requires an unselfish regard for your whole body at once as a cogent medium for indefinable specificity. You are thus positioned to learn without thinking.\u201d Deborah Hay, 7\/10\/2012<\/p>\n Solo Performance Commissioning Project, Aug 29 \u2013 Sept 7, 2012 What if my whole body at once is my teacher? <\/p>\n What if the question \u201cWhat if where I am is what I need?\u201d is not about what I need but an opportunity to inhabit the question \u201cWhat if where I am is what I need?\u201d ? <\/p>\n What if dance is how I practice relationship with my whole body at once in relationship to the space where I am dancing in relationship to each passing moment in relationship to my audience? What if the depth of this question is on the surface?<\/p>\n What if my choice to surrender the pattern, and it is just a pattern, of facing a single direction or fixing on a singularly coherent idea, feeling, or object when I am dancing is a way to notice where I am not? <\/p>\n What if how I see while I am dancing, including what I imagine, invent, project, can and cannot see in a prescribed area near, mid-range, and far, at any given moment, is a means by which movement arises without my looking for it? Remember to turn your fucking head. Use your perception of space to enlarge the experience of your dance at any given moment.<\/p>\n Remove hesitation and reconsideration from your dancing.<\/p>\n Avoid slow motion movement at all costs.<\/p>\n Remove your sequencing from the sequence of movement directions that describe Dynamic.<\/p>\n Do not lose command of how you use your weight. Arms do not hang or swing casually. There is no room for rest.<\/p>\n Within the frame of this material, avoid the impulse to: Using your voice in Dynamic<\/p>\n Your voice, whether singing or speaking, is a primary choreographic component of Dynamic. <\/p>\n I rely heavily on not thinking when I sing because I do not know how to think about singing. I rely on what has been absorbed without much thought, in terms of memory, patterns, history. I hear each song as it leaves my body, and I refrain from trying to make it anything other than what I hear as it emerges.<\/p>\n Two simple spontaneous melodies, sung without a need to project, hold Dynamic together. Intermittent periods of silence, within each song, add volume to the occasion. <\/p>\n Your song\u2019s words are not translatable, although the cadence and phrasing make it sound like an actual language is being used. For a host of obvious reasons, you do not want to sound as if you are singing in a foreign language like French, Japanese, German, etc. Among other effects, it will separate you from your audience.<\/p>\n There are two choreographed clicks to learn. Each very short explosive click originates in the lower abdomen and is instantaneously forced from your mouth. You cut short the sound the moment it is produced. <\/p>\n ca: Press the back of your tongue to the roof of your mouth, slightly open and widen your lips, and from your belly, force a breath sound \u201cca\u201d out from behind your tongue. Immediately shorten the act and return your lips to normal.<\/p>\n de: With the tip of your tongue pressed to the top of your palate about one-quarter inch behind your teeth, slightly purse your lips while you force your breath, from your lower abdomen, to free your tongue. Immediately shorten the act and return your lips to normal.<\/p>\n \u201cDynamic\u201d (2012) choreography, text, and direction: Deborah Hay<\/p>\n [For the sake of simplicity, Dynamic\u2019s score is written for a proscenium stage, although the dance can be practiced anywhere and in any audience\/performer spatial relationship you choose or that chooses you.]<\/p>\n Preset: Before you enter, put a piece of food into your mouth that you can chew and swallow by the time you begin the dance. You enter, something like a duck. We can tell you feel silly, and we can see you laughing at yourself. Traveling only forward, you are looking around for a place to roost, settling near the edge of the space. <\/p>\n Upon choosing a place to begin the dance, you find comic movements without acting funny. Getting to the floor, you assume a minimally composed shape. <\/p>\n How you see, from the assumed position, is inclusive of everything you can and cannot see, imagine, invent, project, create. Whatever you fleetingly notice is free of identification. A figure a sea is a useful perspective on your assumed position in the surrounding space. <\/p>\n You sing this sea, this stage, this moment, and you hear the spontaneous melody, as does the audience. The song has intermittent pauses that, combined with the song, eventually gain substance in your body as well as in those of the audience. This takes time. The body remains still while the head is moving. From the floor, you rise, zigzagging without illustrating or representing zigzag. What if you call wherever you are zigzagging? The song continues to guide the dance.<\/p>\n You cross the stage following a path that contains a perfect circle. The clearer the circle is in your experience, the freer you are from illustrating it\u2014which is your challenge. To arrive at and depart from the circle, a single traveling movement is repeated like a little stitch. Several examples of the whole path are drawn below. <\/p>\n A practice of the performance of weaving is how the circumference of the circle is made, yet no one in the audience would necessarily identify your actions as such. Remembering to call your movement weaving is constant. At the same time, you are making choreographic choices that help maintain a finer interest in the performance of your dynamically subtle, impeccably timed, and succinctly unpredictable dance. Short phrases of at least two notes from your song continue to come and go, just enough to keep the presence of the song in your dance.<\/p>\n At the end of the path, not the end of anything else, your song plus a single movement repeat and combine rhythmically, the two elements illustrating each other. You and the audience alike realize a sustained visual and aural effect from those parallel actions.<\/p>\n \u201cCa\u201d is performed in less than a fraction of a second. No one sees it.<\/p>\n With the memory of the rhythmic song and movement intact, everything changes, although this is not obvious. Therefore everything changes needs enough time for everyone to recognize that everything has changed. Phrases from the song, now quieter, are performed as if time collapsed.<\/p>\n \u201cDe\u201d is performed in less than a fraction of a second, and no one sees it.<\/p>\n Moving rapidly, without struggle, lift your body mass away from the floor as you turn without turning, navigating a teardrop path covering at least half the stage. Use or don\u2019t use your arms, more or less. The work is to remain as simple as possible in relation to the movement while becoming as sophisticated as possible in terms of your perception of time, space, and dynamic. You want to give the impression that this activity is habitual, but it is not. The teardrop path is then repeated, is reversed, and does not have to be completed. We hear whispered and limited phrases from your song. <\/p>\n The area contained within the teardrop is entered and filled to capacity as you practice the performance of intimacy. Intimacy within a teardrop is poetically useful to your whole body at once as your teacher. To avoid falling into the trap of illustrating or doing intimacy, these questions need recycling again and again: \u201cCa\u201d is performed in less than a fraction of a second without anyone seeing it. Without pretense or finality, you march offstage, lightly repeating the word phrase, \u201cdumb dumb da-dumb dumb.\u201d Without pause, you sing a beautiful new song in a choreographed voice. The song gives volume to the stage, a sea. <\/p>\n While singing, and in direct relation to your song and its pauses, you perform three movements without facing a single direction. By choosing to surrender any frontality, you erase a destination. You click \u201cca,\u201d followed by a delayed bodily response. \u201cDe\u201d succeeds, with another delayed response, and \u201cca\u201d follows, with a final delayed response. One of them is brief.<\/p>\n The phrase \u201cThe very thing\u2026\u201d is spoken with or without a foreign accent and directed to the audience. If there is a spontaneous conclusion to the phrase, at that moment, you finish the sentence aloud. If not, the clicking and delayed response combination repeats until the phrase \u201cThe very thing\u2026\u201d is completed. <\/p>\n To support the composition of your exit, apply the question, \u201cWhat if my will is my destiny?\u201d <\/p>\n \u201cAnd I think for the first time I understood that the questions\/practices reside in the body, not the head; or rather that the practice is in moving the question from the head into the body; and the discipline is in schooling the body to be the questioner (or the question).\u201d <\/p>\n \u2013 John Slatin, a dear friend who was blind and a professor of English at the University of Texas in Austin <\/p>\n The lights fade after the audience is given time to contemplate the stage without you. [\/et_pb_toggle][et_pb_toggle title=\u00a0\u00bbDATES\u00a0\u00bb open_toggle_text_color=\u00a0\u00bb#444444″ open_toggle_background_color=\u00a0\u00bb#ffffff\u00a0\u00bb closed_toggle_text_color=\u00a0\u00bb#ffffff\u00a0\u00bb closed_toggle_background_color=\u00a0\u00bb#7c7c7c\u00a0\u00bb icon_color=\u00a0\u00bb#ffffff\u00a0\u00bb use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb icon_font_size=\u00a0\u00bb12px\u00a0\u00bb _builder_version=\u00a0\u00bb4.6.3″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb title_text_color=\u00a0\u00bb#444444″ title_font=\u00a0\u00bbAbel|||on|||||\u00a0\u00bb title_text_align=\u00a0\u00bbleft\u00a0\u00bb title_font_size=\u00a0\u00bb20px\u00a0\u00bb closed_title_text_align=\u00a0\u00bbleft\u00a0\u00bb body_font=\u00a0\u00bbAbel||||||||\u00a0\u00bb body_text_align=\u00a0\u00bbleft\u00a0\u00bb body_text_color=\u00a0\u00bb#444444″ body_font_size=\u00a0\u00bb14px\u00a0\u00bb body_line_height=\u00a0\u00bb1.2em\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb custom_margin=\u00a0\u00bb||||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb|50px||50px|false|false\u00a0\u00bb border_width_all=\u00a0\u00bb0px\u00a0\u00bb]<\/p>\n 9 avril 2013 | Festival Hautes Tendances, Strasbourg<\/p>\n Mai 2013 | Les Moulins de Paillard – Centre d’Art Contemporain<\/p>\n D\u00e9cembre 2013 | Canaldanse, Paris<\/p>\n Mai 2017 | Le Magazin, St. Etienne[\/et_pb_toggle][et_pb_text admin_label=\u00a0\u00bbProduction\u00a0\u00bb _builder_version=\u00a0\u00bb4.5.8″ text_font=\u00a0\u00bbAbel||||||||\u00a0\u00bb text_font_size=\u00a0\u00bb16px\u00a0\u00bb header_font=\u00a0\u00bbJosefin Sans|700||on|||||\u00a0\u00bb header_text_align=\u00a0\u00bbleft\u00a0\u00bb header_text_color=\u00a0\u00bb#444444″ header_font_size=\u00a0\u00bb48px\u00a0\u00bb header_2_font=\u00a0\u00bbAbel||||||||\u00a0\u00bb header_2_text_align=\u00a0\u00bbleft\u00a0\u00bb header_2_text_color=\u00a0\u00bb#444444″ header_2_font_size=\u00a0\u00bb21px\u00a0\u00bb header_3_font=\u00a0\u00bbAbel||||||||\u00a0\u00bb header_3_text_align=\u00a0\u00bbleft\u00a0\u00bb header_3_text_color=\u00a0\u00bb#444444″ header_3_font_size=\u00a0\u00bb17px\u00a0\u00bb header_4_font=\u00a0\u00bbAbel||||||||\u00a0\u00bb header_4_text_align=\u00a0\u00bbleft\u00a0\u00bb header_4_text_color=\u00a0\u00bb#666666″ header_4_font_size=\u00a0\u00bb13px\u00a0\u00bb header_4_line_height=\u00a0\u00bb1.3em\u00a0\u00bb background_size=\u00a0\u00bbinitial\u00a0\u00bb background_position=\u00a0\u00bbtop_left\u00a0\u00bb background_repeat=\u00a0\u00bbrepeat\u00a0\u00bb text_orientation=\u00a0\u00bbcenter\u00a0\u00bb custom_margin=\u00a0\u00bb10px||8px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb|||50px|false|false\u00a0\u00bb]<\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_2″ _builder_version=\u00a0\u00bb3.25″ custom_padding=\u00a0\u00bb|||\u00a0\u00bb custom_padding__hover=\u00a0\u00bb|||\u00a0\u00bb][et_pb_image src=\u00a0\u00bbhttps:\/\/marika-rizzi.com\/wp-content\/uploads\/2020\/08\/dynamic-visuelhaut2.jpg\u00a0\u00bb title_text=\u00a0\u00bbdynamic-visuelhaut2″ _builder_version=\u00a0\u00bb4.5.8″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb][\/et_pb_image][et_pb_video src=\u00a0\u00bbhttps:\/\/marika-rizzi.com\/wp-content\/uploads\/2020\/08\/dynamic.mp4″ src_webm=\u00a0\u00bbhttps:\/\/marika-rizzi.com\/wp-content\/uploads\/2020\/08\/dynamic.mp4″ image_src=\u00a0\u00bbhttps:\/\/marika-rizzi.com\/wp-content\/uploads\/2020\/08\/visuelvideo.png\u00a0\u00bb thumbnail_overlay_color=\u00a0\u00bbrgba(0,0,0,0.6)\u00a0\u00bb _builder_version=\u00a0\u00bb4.5.8″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb][\/et_pb_video][et_pb_image src=\u00a0\u00bbhttps:\/\/marika-rizzi.com\/wp-content\/uploads\/2020\/08\/dynamic3.png\u00a0\u00bb title_text=\u00a0\u00bbdynamic3″ _builder_version=\u00a0\u00bb4.6.3″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb][\/et_pb_image][et_pb_image src=\u00a0\u00bbhttps:\/\/marika-rizzi.com\/wp-content\/uploads\/2020\/08\/dynamic5.png\u00a0\u00bb title_text=\u00a0\u00bbdynamic5″ _builder_version=\u00a0\u00bb4.6.3″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" \u00ab\u00a0DYNAMIC\u00a0\u00bb measuring silence (2012) In memory of Gill Clarke 9\/12\/1954 – 15\/11\/2011Chor\u00e9graphie\u00a0: Debora Hay Adaptation\u00a0: Marika Rizzi\u00ab\u00a0DYNAMIC\u00a0\u00bb est le dernier solo que la chor\u00e9graphe Deborah Hay a cr\u00e9\u00e9 pour le projet SPCP (Solo Performance Commissionning Project), projet qu\u2019elle a men\u00e9 entre 1998 et 2012. Pendant une p\u00e9riode de 10 jours Deborah Hay transmet la partition […]<\/p>\n","protected":false},"author":1,"featured_media":65,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"\r\n Ceci est une page d\u2019exemple. C\u2019est diff\u00e9rent d\u2019un article de blog parce qu\u2019elle restera au m\u00eame endroit et appara\u00eetra dans la navigation de votre site (dans la plupart des th\u00e8mes). La plupart des gens commencent par une page \u00ab\u00a0\u00c0 propos\u00a0\u00bb qui les pr\u00e9sente aux visiteurs du site. Cela pourrait ressembler \u00e0 quelque chose comme cela\u00a0:<\/p>\r\n\r\n\r\n\r\n Bonjour\u00a0! Je suis un m\u00e9canicien qui aspire \u00e0 devenir acteur, et voici mon site. J\u2019habite \u00e0 Bordeaux, j\u2019ai un super chien baptis\u00e9 Russell, et j\u2019aime la vodka-ananas (ainsi qu\u2019\u00eatre surpris par la pluie soudaine lors de longues balades sur la plage au coucher du soleil).<\/p><\/blockquote>\r\n\r\n\r\n\r\n ... ou quelque chose comme cela\u00a0:<\/p>\r\n\r\n\r\n\r\n La soci\u00e9t\u00e9 123 Machin Truc a \u00e9t\u00e9 cr\u00e9\u00e9e en 1971, et n\u2019a cess\u00e9 de proposer au public des machins-trucs de qualit\u00e9 depuis lors. Situ\u00e9e \u00e0 Saint-Remy-en-Bouzemont-Saint-Genest-et-Isson, 123 Machin Truc emploie 2 000 personnes, et fabrique toutes sortes de bidules super pour la communaut\u00e9 bouzemontoise.<\/p><\/blockquote>\r\n\r\n\r\n\r\n
J’\u00e9tais aussi particuli\u00e8rement touch\u00e9e et reconnaissante que \u00ab\u00a0DYNAMIC\u00a0\u00bb soit d\u00e9di\u00e9 \u00e0 Gill Clarke, magnifique danseuse \u00e0 qui toute une g\u00e9n\u00e9ration d’artistes chor\u00e9graphiques londoniens doivent l’existence d’Independent Dance, fions-nous \u00e0 son appellation pour saisir la port\u00e9e de cet organisme ! Quant \u00e0 Gill, nous nous sommes rencontr\u00e9es gr\u00e2ce \u00e0 Kirstie Simson lors d’une rencontre \u00e0 Casina Settarte en Italie o\u00f9 elle avait r\u00e9uni des personnalit\u00e9s proche d’elle et de sa vision de l’improvisation. (C’est l\u00e0 qui est n\u00e9 le film \u00ab\u00a0Force of Nature\u00a0\u00bb). Chez Gill j’ai per\u00e7u la m\u00eame aisance que j’avais per\u00e7u chez Simone Forti au moment o\u00f9 on entre dans l’espace d’improvisation. Ce sens de continuit\u00e9 entre l’avant et le d\u00e9but d’une danse instantan\u00e9e, il est lisible dans la marche, dans le corps, dans la pens\u00e9e. Quand ce passage est d\u00e9pourvu de tensions le geste devient magique parce que d\u00e9charg\u00e9 de volont\u00e9 inutile tout en \u00e9tant compl\u00e8tement pr\u00e9sent. J’ai appris \u00e7a de ces deux grandes dames et immanquablement je pense \u00e0 elles dans des situations similaires.\u00a0<\/span><\/p>\n
\nin memory of Gill Clarke 12\/9\/1954 \u2013 11\/15\/2011<\/p>\n
\nGry Bech-Hanssen
\nAura Fischbeck
\nMiguel Guzman
\nDetta Howe
\nMiriam Jakob
\nAntonija Livingstone
\nJanne-Camilla Lyster
\nCinira Macedo
\nMegan Metcalf
\nLaurence Nguyen-Monnot
\nGulsen Ozer
\nMarika Rizzi
\nAna Rocha
\nChristopher Roman
\nMatthias Sperling
\nShannon Stewart
\nMaria Svensson
\nEmily Sweeney
\nAsher Woodworth
\nOlga Zitluhina<\/p>\n
\nUniversal Hall, Findhorn, Scotland
\nAdministration: ID (Independent Dance), London, England
\nIris Chan and Fiona Millward
\nIn collaboration with Bodysurf Scotland
\nTools for the practice of the performance of Dynamic<\/p>\n
\nAdvice for the practice of the performance of Dynamic<\/p>\n
\nYour perception of time is relentless throughout. This includes the perception of your movement as your music and your perception of time passing.<\/p>\n
\n–\tbe unique, or original, and\/or creative, and
\n– \tillustrate language through movement.
\nInstead, dis-attach from those impulses by:
\n–\tnoticing the whole body at once as your teacher, thus assuming the cellular intelligence of your body, and
\n– \tincluding your visual field, which includes what you can and cannot see, while you are dancing.<\/p>\n
\nIn memory of Gill Clarke 12\/9\/1954 \u2013 11\/15\/2011<\/p>\n
\nWith its interludes of silence and phrasing, the song establishes its hold. Outside of the song\u2019s influence, no more than twice, a single movement of one or two limbs may be tagged onto your floor position. This is performed in a direct yet offhand manner, free of association. There is interplay between the seeming casualness of your gestures, the fullness of the song, the held pauses, and the constancy of your attention to time, space, and dynamic.<\/p>\n
\nWhat if how I see while I am dancing, including what I imagine, invent, project, can and cannot see, in a prescribed area near, mid-range, and far, at any given moment, is a means by which movement arises without looking for it?
\nWhat if wherever I am intimacy is?
\nWhat if my whole body at once is my teacher?
\nQuietly confidential phrases can be heard. <\/p>\n
\nNot an announcement, but speaking clearly with a fake accent, you realize aloud, \u201cThe very thing I thought I lost I hadn\u2019t lost.\u201d Heard, you resume practicing intimacy.<\/p>\n
\n 1)\tTo return to stage, step into the song you have sung. Place your weight on your forward stepping leg before your other foot lifts lightly behind you, bending at the knee. The arms play a supporting role.
\n 2)\tIn place, with both knees together, bend and straighten your legs repeatedly.
\n 3)\tWith both hands parallel in the air above your head, flutter them diagonally downward so that they cause a vibrato in the last note or notes you are singing.<\/p>\nCoproduction<\/strong><\/h4>\n
Ballet de l\u2019Op\u00e9ra National du Rhin \/ CCN de Mulhouse dans le cadre de l\u2019accueil studio 2013, Festival Hautes tendances, Strasbourg, ass. SPONTE.\u00a0 <\/span><\/h4>\n
<\/h4>\n
Avec le soutien <\/strong><\/h4>\n
du CND Centre National de la Danse,
M\u00e9nagerie de Verre dans le cadre du Studiolab,
Canaldanse,
Les Journ\u00e9es Danse Dense et la Ville de Pantin<\/span>,
Les Moulins de Paillard – Centre d’Art Contemporain.<\/h4>\nMa plus sinc\u00e8re gratitude pour leur aide \u00e0 : <\/span><\/strong><\/h4>\n
Simon Ellis, Mario Rizzi, Rosetta Colombo, Cath\u00e9rine Jodoin, Sergio Longobardi, Laurence Nguyen-Monnot, Bruno Pocheron, Fran\u00e7oise Feraud.<\/h4>\n