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This is another type of dance that thought would be funny

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As in words in sentence structure each word seems to be dependent on the next With a noun comes a verb and then adjectives, where do they lie together If a word is placed on its own it has a meaning as found in the dictionary yet when played of other words it is given a new understanding. In other languages their are words that have inherent learnt knowledge through culture though in explaining this it becomes difficult to show the thread as it has not been personally learnt. It has to be told , but only through learning is it understood. Only through the learning is a new understanding or a personal knwoledge gained. Through the school of Dance this is something that the body is taught Taught to become aware of its inherent movement, in the thought that the technique will be a knowledge of the body and not have to be thought just understood. This being so the body can move alongits own path moving with out force, and being able to integrate and weave through other bodies.

What happens when the body is overloaded with knowledge what then happens to it how does it move and react to others. does it going crazy creating and pulling creating knots tangling itself up with others. How is the reactioned mapped? Is there a point where one the brian switches of so that the crazyness is then left. If one concentrates on the dancing to much then the dancer then loses the sense of movement [not actually movement but inherent knowledge of movement]? The dancer is required to surpass the immanent in order to move freely with itself to the music and describe the sensation through itself allowing open ends for other things to feed into its knowledge base.

William Forsythe talks about entrainment and the level of experience it takes one through

Engendering and composing movement: William Forsythe and the Ballett Frankfurt

Lines points fraying edges and the propriception of education and the learned. What is inherent knowledge and learnt through the body through education through basic steps and how becomes embodied

Can one be lost after so much information or is it only when there there is over information that one is lost

Massumi expalins, "this lost dimension of experience is where vision's conscious forms-in- configuration feed back into the vectorial tendency-plus -habit of proprioception, and where proprioception feeds into vision. Where we go to find ourselves when we're lost is where the senses fold into and out of each other. We always find ourselves in this fold in experience."

"The loss of body dimension of abstract orientation not so terribly different from the one we go to when we roll up our eyes and find ourselves in the fold."

As with the School of Dance in which the student [body]? is taught steps of basic element and are built upon on those basics. Once the basics are learnt and the body is taught to react in a certain way to itself one is describing the situation of habit. But it is sometimes the inherent knowledge through education and ones experienceo f the knowledge and the lying in btw that effects. When someone is dancing and falls it has an effect on the other dancers like a force that pulls the others down with it or slows them down until the other has caight up again.

This is perhaps something in the idea of the bodies apathy towards others When does the movemnt fray or sit on the hinge waiting for that person to start moving again and then reconnect and make be able to pull the thread through again rather then letting it hang pulling upon the others, creating tension.

Not only is it about the patterns of movement Dance seems to me to be more of a connection the idea of proprioception of reactions to itself in the knowledge of itself and the others performing. A solo piece is usually quite easy for a dance or though it takes great strength and knowlege of the craft to create awe, though when one has to perform with the other they have to use each other as a counter balance in pulling each other in tension and compression never leaving the other to fall or else it will create to much stress on their own performance of body.

Massumi again "It is the hinge -plane not only between matter and mindlessness : the involuntary and the elicited."

Steven Spier

One can imagine how intimate and powerful entraining is, as well as how taxing it must be to sustain the level of involvement necessary to remain "inside the event".48 Such authentic engagement requires a tremendous mental effort: "…more than the physical part, it was the intellectual part that required keeping that amount of information flowing at that speed…and not getting habitual. It's really an unbelievable intellectual task….I think perhaps in our case it's a big task because our dances are hyper-complex….It's kind of extraordinary counter-coordination….Your brain can operate only so fast. That's because you have so split your brain all the time, if you know what I mean. You have to be in the present … and then you also have to be flowing your body into the next event, so you're always between two events…."49

  1. Caspersen and Forsythe, op. cit. He remarked that during a preview the night before its opening, there were 50 children inside it and no collisions

Entrainment being To pull or draw along after itself. Chemistry. To carry (suspended particles, for example) along in a current.

This describing the movement as a continous stream.

As described through the piece by Stephanie Lake "Loop" In which the dances a moving along like a moving image continous and it is not until one goes against that loop that things then start falling apart.

Forsythe also describes this moment of performance when the brain turns off and the inherent knowledge takes over as Trance.

For the individual dancer, the result can be loss of self:

"… certain areas of dance demand trance. You can't reach them without trance. Trance conditions contain particular aesthetic qualities for the active, involved person. That, I think is a privilege: to participate in this state. They are in a state of ecstasy, and that has nothing to do with good or bad. It's a reaction, both psychological and biological – it's both, and it protects you. When human beings attain this state they can do very dangerous things without injuring themselves."54

  1. R. Sulcas, 'Kinetic isometries: William Forsythe on his continuous rethinking of the ways in which movement can be engendered and composed" Dance International, (Summer 1995), P. 8.
  2. A Conversation with William Forsythe on the occasion of the "As a garden in this setting" Premier, December, 1 993, Ballett International/ Tanz Aktwell, 2, February, 1 994, p. 35.

A dancer does not work like Fungi which is saprophytic [feeding off dead matter]? it is symbiotic and requires a relationship or even a dependence on something else. What is the something else?

Is it primarily the body, is it knowledge of the dance moves or knowledge of the body, is it the understanding of self in a confidence of knowing self in order to let go...


comments:

... -- 2004/04/06 09:20 EST reply
No longer immanent the knowledge surpasses.

IMMANENCE _ imˇmaˇnent Pronunciation Key (m-nnt) adj. Existing or remaining within; inherent: believed in a God immanent in humans. Restricted entirely to the mind; subjective.

WF: Take the ballet position of épaulement, which is the crowning accomplishment of great ballet dancers. It entails a tremendous number of counter-rotations determined by the relationships among the foot, hand, and head ' and even of the eyes. As in Indian classical dancing, it dictates rules of gazing past the body. For me épaulement is the key to ballet because it demands the most complex torsion. The mechanics of épaulement are what give ballet its inner transitions.

At the Frankfurt Ballet, we've created a new "paradigm of rigors," in which the dancers maintain very complex torsions during physically antagonistic events. This happens in motion. For example, you can spin out of a classic position, and as this spinning undoes the position, you look at the r

Labanotation give us

TIME SPACE EFFORT are depicted in Labanotation

TIME _ involves

metre measurement tempo beat pulsation rhythm duration pause suspension rubato Rhythmic flexibility within a phrase or measure; a relaxation of strict time. anacrusia_ One or more unstressed syllables at the beginning of a line of verse, before the reckoning of the normal meter begins

EFFORT _ involves

texture exertion expression weight slowness- quickness dynamics tension impulse

SPACE _ includes

distance direction plane path axes shape

... -- 2005/03/15 00:28 EST reply
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