Saturday 31.08. 2013 PAF
Pavlos advises me to go back to the Studio and Rehearse.
- what kind of dance Fenia dances?
- How do you correct yourself while you are doing something without using the camera?
- Improvisation/score/repetition/rehearse/set up?
- More optimistic point of view.
- A real dance piece. A real theater piece
His words resonate inside me. It’s like to hear an inner voice coming out and saying > Leave this computer, leave the camera, leave the thoughts, the books and the reflections and bring my body back to the space, to the studio. This is a real confrontation with myself. I realize more clearly that the use of the camera and the editing sometimes become an excuse in order to hide myself from this challenge. I keep longing for an embodiment of the theory, for dancing again with pleasure and curiosity. By doing you understand, Pavlos says and I know that he is right or at least that this way function for myself. Also when I write and speak I feel that thoughts and ideas becoming more concrete, more real.
So why am I so afraid to go back to the Studio and deal with the first moment of frustration> What am I supposed to do?
I think I was need someone else to encourage me to do that. As it happened. Time to do it.
~He advised me to watch Ritsema- Borrows piece> Weak dance-strong questions
http://www.youtube.com/watch?v=djz2dWO6r-4
…………………………….
I started by watching the raccomended video and writing some reflections about it. Then I started warming up my body with massage and different somatic techniques based in improvisation and movement exploration. After a while I started moving into the space while my music list was playing randomly some songs.
I was warmed up enough to start making some scores I had thought and written before entering in the studio.
- dancing and speaking about what I am doing and feeling on the moment.Trying to keep the flow of the movement and the voice at the same time.
- dancing and speaking about what “dance” is for me.
- dance and narrating some memories from the past.
- dance in silence.
In a certain moment I remembered when I used dancing as child in the entrance of the building with my little chair while my audience (the passengers) were crossing the street (they could see me because the main door was made with glass). I used to listen or Michael Jackson or Greek singers of 80’s like my favorite> Pwlina:
- Voice experimentation>
The fact that voice is one of my weakest points I decided to use it and sing my old times favorite song>
“Pame gia treles stis Seiheles” of Pwlina (Itsy Bitsy Teenie Weenie
Lyrics in Greek
Λα, λα, λα …
Δε με ριγούν τα μεγάλα τα ψάρια
κι οι καρχαρίες και τ’ αρσενικά
είμαι απ’ αυτές που κερδίζουν στα ζάρια
η συνταγή φυσικά είναι μια
Ποια ; Ποια ; Ποια ;
Τι σημαίνουν όλα αυτά ;
Με ένα σούπερ τοσοδούλι μίνι διάφανο και ροζ μπικίνι
κάνω ντου και τρομάζει ο ντουνιάς
με το βρεγμένο σούπερ μίνι διάφανο και ροζ μπικίνι
πέφτουν όλοι ξεροί μονομιάς
Λα, λα, λα …
Κι όμως θυμάμαι παλιά καλοκαίρια, λα λα λα
πόσο ντρεπόμουν τις πλαζ γενικά, λα λα λα
γυαλιά φορούσα μπουρνούζια καπέλα, λα λα λα
μα τα ξεπέρασα πια όλα αυτά
Ποια ; Ποια ; Ποια ;
Πώς ξεπέρασε όλα αυτά ;
Με ένα σούπερ τοσοδούλι μίνι διάφανο και ροζ μπικίνι
κάνω ντου και τρομάζει ο ντουνιάς
με το βρεγμένο σούπερ μίνι διάφανο και ροζ μπικίνι
πέφτουν όλοι ξεροί μονομιάς
Mπα μπα μπα δεν κρατιέται αυτή παιδιά
Λα, λα, λα …
Πήρα μαθήματα ανατομίας, λα λα λα
είδα δεκάδες διαφημιστικά, λα λα λα
Έφτιαξα όλας τας αδυναμίας, λα λα λα
δε με κομπλάρουν τα ξένα κορμιά
Ποια ; Ποια ; Ποια ;
Τι σημαίνουν όλα αυτά ;
Με ένα σούπερ τοσοδούλι μίνι διάφανο και ροζ μπικίνι
κάνω ντου και τρομάζει ο ντουνιάς
με το βρεγμένο σούπερ μίνι διάφανο και ροζ μπικίνι
πέφτουν όλοι ξεροί μονομιάς
Μπα μπα μπα δεν κρατιέται αυτή παιδιά
Με ένα σούπερ τοσοδούλι μίνι διάφανο και ροζ μπικίνι
κάνω ντου και τρομάζει ο ντουνιάς
με το βρεγμένο σούπερ μίνι διάφανο και ροζ μπικίνι
πέφτουν όλοι ξεροί μονομιάς
Μα ποια είσαι τέλος πάντων ;
-ένα καρακατσουλιό
Στόχος έγινες των πάντων
ε, με τον τρόπο μου κι εγώ
Of course after while people from the next room started to complain..I cannot understand why they could enjoy my marvelous voice repeating 100 times the refrain of the song!!!!!!!!!!!!!
Anyway different thing came out from 4 hours non stop dance and voice practice in relation to memories.
How can I present this material as very “important”element in the auto ethnological museum of Fenia? How teh audinece will interact and experience the sharing of Fenia’s memories?
…………..
In the evening we watched all together the lecture that pavlos proposed “The many headed monster” by Joshua Sofaer regarding contemporary performance practices and their relationships with audiences.
Very interesting questions, sharing of opinions and thoughts regarding the audience, its importance, the various ways to deal with based on the needs of the individual project etc.
What kind of relationship I want to built up my audience?
How much interactive or participatory I want the project to be?
How the audience can be involved to the process of deconstruction and construction of someone’s else Identity?
Tomorrow during the experimentation I could try out some options.
Very interesting inspiration is the work of Oreet Ashery: Say cheese, 2002> In one to one performance that took place in a bedroom, she was performing as a religious Jewish drag king in order to make the participant to speak about things that in another context probably wouldn’t dare. In a certain point the participant would decide to take a picture of the situation. This foto would be sent to him the day after as a”memory”/trace of the performance/possibility for post reflection of the experience. The participant, also, becomes an artist(photographer) by taking decision within the performance.
