* HOW DID THE WORDING OF THE COMMANDS STIMULATE YOU?
Because I am familiar with dance language/terminology, I felt relatively confident in letting myself respond to VICKI. I did not feel threatened, pushed or sense that she was demanding anything out of me.
* DID YOU FEEL SUCCESSFUL? IF SO WHEN? PLEASE EXPLAIN.
The moments I felt the most successful were when I was open and ready to respond without thinking. I never doubted my movement choices in these situations. This may be the case due to my background in improvisation. The second I doubted what VICKI said or thought too hard the moment passed and then I became frustrated.
* DID YOU FEEL UNSUCCESSFUL? IF SO WHEN? PLEASE EXPLAIN.
The third section when I put my phrases together and perform them in time with the music became somewhat of a setback within my process. I had a hard time connecting the phrases I created to the music. I therefore became frustrated which hindered my ability to keep moving through the sequence. By listening to the music and trusting my muscle memory to complete the movement may have solved this issue.
* DID YOU HAVE ANY DISCOVERIES?
I was surprised at the difficulty I had with connecting the movement with the music in the third section. I need to really listen.
* HOW DID FEEL YOUR TECHNIQUE WAS OR WAS NOT SUPPORTIVE FOR YOU?
Because of my background in dance I felt as ease with playing around or improvising through VICKI’s instructions. As I am experimenting with choreography, I would have liked to observe what kind of movement I generated after the session.
* DID YOU DO ANYTHING THAT HAD NOT OCCURRED TO YOU BEFORE?
No. But it would be an interesting experiment to try and create movement that would be brand new to my body; something outside of my own movement style. VICKI could possibly help create another movement vocabulary for a dancer.
* HOW DID YOUR PHYSICAL EXPERIENCE COMPARE TO THAT OF A TECHNIQUE CLASS?
VICKI starts off with directions that do not demand to locomote through space, much like some technique classes begin standing in one spot. The program has an incremental build and by the end of the program the dancer/performer is able to utilize the entire space if they choose. I felt a sense of freedom within my body as I moved through the space that I sometimes do not reach in a technique class (I should reach this point, but sometimes fall short).
* DID THE COMMAND SEQUENCING LEAD YOU TO DISCOVER SOMETHING ABOUT YOUR TECHNIQUE?
o MOVEMENT VOCABULARY?
I used movement that came naturally to my body. Because I knew the movement would constantly change, I stuck with something comfortable.
o CHOREOGRAPHIC PALETTE?
I was glad that I already knew dance/choreography vocabulary and this experiment confirmed that. I hope to see choreographers utilize VICKI to create new movement and movement patterns to make work in the near future.
o TEACHING?
It is amazing to me how vital language is to our everyday life. One word in the English language can represent different meanings or images to each person. As an educator it seems important to communicate clearly and in different ways so students understand what is being taught. This is also true as a choreographer explains their concepts and ideas to a group of performers.
o IMPROVISING?
I should improvise more! It’s fun and can always leads to movement discoveries and qualities.
* WOULD YOU CHANGE ANYTHING ABOUT YOUR PERFORMANCE?
o QUALITY?
As a performer I need to push the quality of movement so it is not one dimensional.
o USE OF SPACE?
The space could have been explored more. I had the entire space to myself and I only used one particular spot in the space.
* IS THERE ANYTHING YOU’D LIKE TO EXPLORE MORE?
* DESCRIBE ANYTHING THAT YOU LEARNED.
How I move in an improvisational setting. I believe my strong dance foundation has given me the confidence to move freely without hesitation.
* HOW DOES WORKING WITH VICKI AFFECT YOUR VIEW OF
CHOREOGRAPHY, IMPROVISATION, TEACHING, AND TECHNIQUE?
For me this experiment really felt like an experiment with improvisation. I learned how vital it is for one to be open and ready to respond during an improv session.
With VICKI choosing body parts and dynamics, she could help create phrases/sequences of movement for a piece of choreography. VICKI can help a performer by choosing different areas of initiation of the body, locomoting through space/exploring the space, variations in dynamics.
When I teach I will be more conscious of my language and how I present material.
I realize how important a sound foundation in technique is to a dancer. With strong technique a dancer has the ability to react and respond in an instant; just as VICKI gives her instructions quickly.
* HOW WOULD YOU CHANGE VICKI TO MAKE YOUR EXPERIENCE EASIER?
o MORE CHALLENGING?
o MORE INTERESTING?
o SUIT YOUR CHOREOGRAPHIC INTERESTS OR NEEDS?
o EMPHASIZE OTHER CONCEPTS?
I had a hard time understanding VICKI sometimes. It wasn’t that I could not follow her directions, but I could not clearly understand her voice.
One Comment
* HOW DID THE WORDING OF THE COMMANDS STIMULATE YOU?
Because I am familiar with dance language/terminology, I felt relatively confident in letting myself respond to VICKI. I did not feel threatened, pushed or sense that she was demanding anything out of me.
* DID YOU FEEL SUCCESSFUL? IF SO WHEN? PLEASE EXPLAIN.
The moments I felt the most successful were when I was open and ready to respond without thinking. I never doubted my movement choices in these situations. This may be the case due to my background in improvisation. The second I doubted what VICKI said or thought too hard the moment passed and then I became frustrated.
* DID YOU FEEL UNSUCCESSFUL? IF SO WHEN? PLEASE EXPLAIN.
The third section when I put my phrases together and perform them in time with the music became somewhat of a setback within my process. I had a hard time connecting the phrases I created to the music. I therefore became frustrated which hindered my ability to keep moving through the sequence. By listening to the music and trusting my muscle memory to complete the movement may have solved this issue.
* DID YOU HAVE ANY DISCOVERIES?
I was surprised at the difficulty I had with connecting the movement with the music in the third section. I need to really listen.
* HOW DID FEEL YOUR TECHNIQUE WAS OR WAS NOT SUPPORTIVE FOR YOU?
Because of my background in dance I felt as ease with playing around or improvising through VICKI’s instructions. As I am experimenting with choreography, I would have liked to observe what kind of movement I generated after the session.
* DID YOU DO ANYTHING THAT HAD NOT OCCURRED TO YOU BEFORE?
No. But it would be an interesting experiment to try and create movement that would be brand new to my body; something outside of my own movement style. VICKI could possibly help create another movement vocabulary for a dancer.
* HOW DID YOUR PHYSICAL EXPERIENCE COMPARE TO THAT OF A TECHNIQUE CLASS?
VICKI starts off with directions that do not demand to locomote through space, much like some technique classes begin standing in one spot. The program has an incremental build and by the end of the program the dancer/performer is able to utilize the entire space if they choose. I felt a sense of freedom within my body as I moved through the space that I sometimes do not reach in a technique class (I should reach this point, but sometimes fall short).
* DID THE COMMAND SEQUENCING LEAD YOU TO DISCOVER SOMETHING ABOUT YOUR TECHNIQUE?
o MOVEMENT VOCABULARY?
I used movement that came naturally to my body. Because I knew the movement would constantly change, I stuck with something comfortable.
o CHOREOGRAPHIC PALETTE?
I was glad that I already knew dance/choreography vocabulary and this experiment confirmed that. I hope to see choreographers utilize VICKI to create new movement and movement patterns to make work in the near future.
o TEACHING?
It is amazing to me how vital language is to our everyday life. One word in the English language can represent different meanings or images to each person. As an educator it seems important to communicate clearly and in different ways so students understand what is being taught. This is also true as a choreographer explains their concepts and ideas to a group of performers.
o IMPROVISING?
I should improvise more! It’s fun and can always leads to movement discoveries and qualities.
* WOULD YOU CHANGE ANYTHING ABOUT YOUR PERFORMANCE?
o QUALITY?
As a performer I need to push the quality of movement so it is not one dimensional.
o USE OF SPACE?
The space could have been explored more. I had the entire space to myself and I only used one particular spot in the space.
* IS THERE ANYTHING YOU’D LIKE TO EXPLORE MORE?
* DESCRIBE ANYTHING THAT YOU LEARNED.
How I move in an improvisational setting. I believe my strong dance foundation has given me the confidence to move freely without hesitation.
* HOW DOES WORKING WITH VICKI AFFECT YOUR VIEW OF
CHOREOGRAPHY, IMPROVISATION, TEACHING, AND TECHNIQUE?
For me this experiment really felt like an experiment with improvisation. I learned how vital it is for one to be open and ready to respond during an improv session.
With VICKI choosing body parts and dynamics, she could help create phrases/sequences of movement for a piece of choreography. VICKI can help a performer by choosing different areas of initiation of the body, locomoting through space/exploring the space, variations in dynamics.
When I teach I will be more conscious of my language and how I present material.
I realize how important a sound foundation in technique is to a dancer. With strong technique a dancer has the ability to react and respond in an instant; just as VICKI gives her instructions quickly.
* HOW WOULD YOU CHANGE VICKI TO MAKE YOUR EXPERIENCE EASIER?
o MORE CHALLENGING?
o MORE INTERESTING?
o SUIT YOUR CHOREOGRAPHIC INTERESTS OR NEEDS?
o EMPHASIZE OTHER CONCEPTS?
I had a hard time understanding VICKI sometimes. It wasn’t that I could not follow her directions, but I could not clearly understand her voice.
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