Establishing my Movement
I have discovered that when I am analysing my technique and body placement in the mirror I look at my hips, shoulders, turn out, arm placement and core stability. However, I never look at my face or acknowledge where my gaze is focused. I tend to look down and concentrate internally on what the movement feels like, focusing on my physicality and image rather than the intention of where the movement is going. Gemma Nixon explained that a foot exercise is not just a warm up for the feet, it is an opportunity to stand out and practice performative qualities from projection to eye line. I realised the importance of doing this through week on week progression and through performing run throughs n rehearsals. If I can perform a foot exercise and dance the exercise, when the time comes to performing on stage, the performance qualities will become a habit and will feel more natural when on stage rather than worry of becoming over expressive and ‘cliché’. Bausch explain to have become worried as to whether dance had become lost from ‘its own source of meaning through becoming empty or mechanical’ (Climenhaga, 2012, pg. 306) which is easy to fall into within a technique class when the movement becomes focused on placement and alignment. The sense of why the warm up or exercise is taking place is overcome by self evaluation and critical thoughts; where as, enjoyment and focus of the eyes, to perform the exercise, becomes lost. To add to, a key concept Joss Arnott has established throughout the performance of wild shadows is the passion behind the movement, embodying the rawness of the physicality to enable the work to become cohesive. Continuing, feedback from Nixon stated that my transitioning in and out of the floor I do very well; however, I now need to focus on my own flavour within my movement or taught phrase. By using different dynamics and shades of movement will push my practice more towards a professional standard. To add to, Sarah Lockwood commented to "trust your creativity...make it your own". To my understanding of my dance practice, I am excelling in my performative qualities and alignment of the limbs in complex position and through transitioning within phrases; however, my focus must now be directed to my dance vocabulary as a dance artist. What is my flavour?
From watching Motionhouse perform , Nobody, in 2021; their transitions in and out of lifts, over scaffolding and as an ensemble is seamless; however, focusing on their solo moments, each dancer has their own unique quality which, going forward, I hope to trial and error within my practice and future creations (Nobody, 2022). As the Guardian quotes 'It's impossible to look away' (Wyver, 2021, line 28) is due to their individuality as performers and ability to play with nuances as 'dancers glide off and climb on each other’s bodies' (Wyver, 2021, line 27). In order to bring my own physicality within my movement, I need to watch and critique myself how I dance so I can see the similarities. From trusting my creativity from a raw place may bring out new movement sensations and moments to create a dance vocabulary for myself. Recently, from improvising for showreel footage, I noticed myself that bringing different energies and flow within moving works best for me, currently, with a vocal note and instruction. To conclude, I find that my performing aspect of my artistry is improving week on week, I now need to focus on exploring with imagery, instruction and colours when moving to notice a shift in energy and tone within rhythms.
Climenhaga, R. (2012) The Pina Bausch source book: The Making of Tanztheater, Routledge, London. Available online from <https://ebookcentral.proquest.com/lib/salford/detail.action?pqorigsite=primo&docID=10160>
Motionhouse. (2022) Nobody. Available online from <https://www.motionhouse.co.uk/production/nobody/>
Wyver, K. (2021) Motionhouse: Nobody review – keep your eyes glued to this incredible. ensemble. The Guardian, September 23rd. [Online] Available from <https://www.theguardian.com/stage/2021/sep/23/motionhouse-nobody-review-peacock-theatre>
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