These days we're dancing to ragtime music (Bolling's Mississippi Rag), with movements inspired by little Scottish girls doing handclap games on Youtube, childhood toys like Hungry Hungry Hippos, a few remaining apple seeds, some residual funny faces, ANEW words made into a movement phrase, and the laughter of people we enjoy. We seem to have found the genuine humor in the piece, and now it may be time to select portions to keep and return to the original structure of the first unshowing (mask, blank-face, laughter).
Verbal feedback from the Unshowing yesterday follow:
-stirring (ANEW "snuggle") stood out to one person
-dancer about to pee pants with laughter
-clap movements stood out, visually and audibly rhythmic, depth and intricacy, connection between the dancers
-hungry hungry hippos at the end
-goofiness, fun and playful, entertaining, inspired real laughter in audience, interesting
-believable, virus (contagious)
on setting:
-sleepovers were referenced by many
-silent movie referenced by several because of the music
-many others asked about setting- and this I will work on.
on characters:
-female "Three Stooges"
-childhood, young/young at heart?
-they saw a reason for the laughter, laughing at/with each other/something else
-there were questions as to the relationships between the dancers that I need to continue to address: who's who? what's going on when one breaks away from the group? the clear dynamic gets muddled when not all moving together (as in, not all "laughing" or doing phrase at once)
on changes from first Unshowing (two weeks ago):
-missed mystery of first structure, it was engaging and odd to see laughter without sound (I need to consider clarity vs. engaged confusion)
-originally an organic sense in the laughter-only movements
-original structure gives deeper context than delving into only one on standing alone (I'm realizing that I don't want to wait to explore the other side of this or wait to present them together. I'd like to do a parallel process with another section, and begin juxtaposing them as I previously thought to do.)
-no moments remain when all are "laughing"
-vocal vs. not vocal (I still need to decide on this... I'm leaning towards muting it after we get a full understanding of complete embodiment with sound first.)
-problem, challenge of face/body separation (I want to take this one on to return to the original structure with the experience of what we've become genuine in now. no more mime comments!)
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I'm glad to have constructive feedback to benefit my project.