notes for roundtable panel
For Remote Encounters, I collaborate with
Ian Willcock and his
disDance 11054.80 - Through improvised dance/movement, I will interact with
dancers performing simultaneously in Singapore (via LIMPT). This is an initial
experimental approach and will deliberatively cause the choreography to clash,
collide and interrupt between the two performances (Cardiff and Singapore).
Therefore, the performers have to be ready to 'step outside' of the comfort
zone of a planned choreography and be able to improvise at the sign of a cue,
playing with altered identities and personas – pace, direction, mood etc.
I am interested in the
‘remote’ performer as a solo ‘entity’ working alone via links, connectors, and
instructions – as a component of the ‘machine’. Also interesting is the notion
of long-distance collaboration in this way and ideas for developments. What
happens to the performers and how does (or can) this interactive
‘co-dependency’ affect the performance?
My current work deals largely with construction of place – and the
threshold between space and place. I explore the theme through dance and
movement interventions, mostly improvised into the 'everyday' of a location/site.
I tie together architecture and the body
through 'spatial narratives' (I teach Interior Architecture and Design). Solo
experiments and improvised dance and movement pieces are staged in unorthodox
settings such as car parks, tunnels, beaches or in the midst of the urban
realm. Often seen or intended as a clash, collision, interference into the
everyday – the site - as a catalyst for embodied imagination.
The performances are often ‘ad hoc’ and recorded
on film there and then. I tend to work as a 'one (wo)man band’ setting up the
camera, performing, filming, post-production/edit. I collaborate with sound
artists or compose my own audio from ‘found sound’.
draft proposed performance plan Cardiff / Singapore
disDance 11054.80:
(memo) Performance plan Cardiff – Singapore:
The performance starts at 11.40 UK time 12/4/13 and lasts for 20 minutes. See
schedule Ian has supplied.
The theme of the performance is Construction of Place – to be translated by the
Cardiff and Singapore locations separately yet collaboratively. It is about the distant,
yet close and intensive collaboration that makes this ‘place’ and performance that
the LIMPT system allows through the interaction and random choreography and
improvisation. The theme can be adapted to each location.
The performance space on the stage: 6mx6m ‘shape’ / confined area* within which
the performance takes place – with 4 set ‘locations’ 1-2-3-4 – (4 spot lights from
above) we have worked out a draft map/plan and will discuss. Ian has some info. The
idea is to mask out (with coloured low tack line marking tape) the confined area and
mark out the 4 locations 1-2-3-4 (see below).
The performance will be divided into 4 sections of approx. 4min each with added
time of 4 minutes (start/finish) for audio/images to fade in/out. Singapore colleagues:
you may use the 1-2-3-4 points as an idea to move the choreography within. I find it
clear to have some ‘points’ to which we can relate. I will use this in Cardiff, but feel
free to improvise around this idea.
1. Entrance – fade in - start
2. Intro (impro1)
3. Finale (impro2)
4. Exit – fade out – mute
The choreography / Singapore – you decide this – I suggest you have 4 set areas of
improvised or strictly choreographed pieces of 4 minutes, and plan these for the 1-2-
3-4 sections as described above. I will do this for Cardiff.
The floor will be marked with the confined 6mx6m area and 1-2-3-4 points – this will
act as a ‘floor plan’ and reflect the ‘digital circuit board’ of the
performance/performer/s.
It is important to stay within the ‘circuit board’ at all times (Confined Space). But feel
free to ‘collide’ and ‘clash’ with the ‘borders’ of the confined space. Make this
evident in the dance/movement, if so.
Cues will be given and exchanged between the two locations - words, voice,
still/moving images and audio. This is work in progress. But to give an idea – the audio
will be bits of 20/30sec clips that ‘clash’, ‘interrupt’, interfere’, ‘marry’ etc with the
activity.
Singapore: You can set up your projected images and audio. I am also happy to
share the material I have.
Cues will be given by selecting keys on keyboards to trigger the cues. We will discuss
this via Skype.
Remember, it is going to be all right to be ‘colliding’, ‘clashing’ with this – that will be
great. The whole point is to have a structure at each end – which is ALLOWED to be
experimented and interacted with by the other location. There will be an order we
can agree – but we can relax this as we go along.
Will discuss.
Cues (tbc):
WORDS/SENTENCES: (for example) Pace-Circulate-Restrict-Clash-Drop-Fall, etc.
(tbc/uploaded to LIMPT)
AUDIO – short clips of 20/30/50 sec (tbc/uploaded to LIMPT)
IMAGES – still and moving images: relating to “Constructing Place” – distance-spaceplace-
memory-pace-direction-presence etc.
Cues can relate in any specific improvised movement or choreography to the
1-2-3-4 so performers will easily find their place, as part of improvised dance/
choreography or once cued to do so.
For example: LIMPT says ‘go ‘1-2-3’ or ‘3-1-2’ this will be seen on screen (as the LIMPT
cue is displayed as text and/or voice) and the audience can relate to the ‘circuit
board’ on the stage floor – (keeping the audience engaged).
Cues, images and audio will be added to rules on LIMPT as soon as complete.
Stage/Props/Costume – relate to choreography
Black costume: simple, but effective (black top/leggings or catsuit) – can have
details/colour etc.
Let’s discuss hear all ideas.
* Singapore may want a larger stage area, depending of number of performers
Work in progress – draft outline of choreographic ideas:
1. Entrance – fade in – start 4 min
Cue IMAGE: brief text about the performance
Performers on stage
Stay still in START location
(Optional: simple props throughout)
Fade in: ‘Wake up’ – slow movements to stretch and circle and sway body slow– to
faster/rapid
Body to feel like a ‘component on the circuit board’ and very slow yet precise
movements – ‘zoom in’ / focus on - arms – fingers - upper body - low – high – stay in
one spot. Cues TBC and discussed.
Audio plays for x min
Singapore or Cardiff Release CUE to next move – tbc:
2. Intro (impro1)
Improvised movement/dance
Image cue – Singapore or Cardiff
Image of everyday object/place (TBC)
3. Finale (impro2)
Improvised movement/dance
Music changes (tbc) and there is now an exchange of cues – a playful interruption to
the ‘slow continuous swaying bodies’. Singapore has three performers (tbc) all crisscrossing
each others paths – colliding and connecting. SHOW THIS –make interesting
viewing. In Cardiff mimic/echo from video virtual partner (tbc).
Each piece of audio interrupts, interferes and collides with the other side. Pace from
slow – fast – rapid and backwards throughout.
4. Exit – fade out – mute 4 min
From fast to slow / fade out
Reverse action – walk backwards and gradually slow down tempo (tbc).
+ 2-4 min to whole performance to cover 20 min. We can discuss this.
Heidi Saarinen h.saarinen@herts.ac.uk March 2013
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