methodology 2 leopold@a-bureau.comvanmourik.elise@gmail.commissy.canezsabus@gmail.com

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INSTANT COMPOSITION
PA-F

With Abscisse et Ordonnée and guests

The purpose of the week is to offer to the students time and space to experience real time scenography. An instant composition of spaces dialoging with dance. Performing bodies and scenography acting on each other and revealing each other. Instant composition is about creating pieces with no score. Choregraphy-scenography happens as events are taking place under the eye of the audience. You will explore how to produce performing material spontaneously together with the dancers/musician and refine the compositional aspects of the collective creativity. In our improvisation work we are deeply interested in the atmosphere of the flight and its special « near future timing ». It is important to us to practice alertness and we keep a thin attention to the situation so that we are always able to run away from it, to transform it. Like children we love to invent, destroy and continuously re-invent.

MORNING TRAINING
Let’s get physical

We will dive into the very concrete material of the body, to slide from the inner space of body to outer spaces through opening a kinestetic consciousness. It’s about sensing and feeling space(s). It’s about moving from within and letting the room, the environment move around/through/with you. It’s about refining the listening to the others and to the context in order to be able to act and react, staying open to inner and outer impulses. It’s about sharing a space and a beat, about grooving together.

PRACTICAL EXERCISES
Let’s get sharp

You will practice scenography in differents contexts and environments by groups. Each day will have a theme: Flight / Shelter / Western / Party / In-between. Each group will have a time to investigate and propose a scenography for a performance. We will start from SCENOGRAPHY to, gradually, experience INSTANT SCENOGRAPHY. Through the week, we will sharpen our ability to instantly make choices for the performance. How to propose materials and situations in a continuous flow of feedbacks in a given space and time ? We will experience the birth, development and transformation of forms and develop a communal language of dance and scenography instantly and constantly interwining. You can start thinking of tools and materials that you may need to support yourself in this process.

PERFORMANCE TIME
Let’s get better

Performance as a practice. We will put the risk in the middle of the practice. The practice of being ready in front of an audience. Witnessing each other’s work, we will intensify the situation and give it a taste of emergency. Making choices, being co-author of the piece happening asks flexibility to accept everything one can imagine, especially the impossible. How to create (scenographs and performers) a common intelligence to be with the complexity and still fit tight together, yet always keeping doors open for the unpredictable. Choosing and doing as one.

THE WORKING OF DINNER TIME
Let’s eat something

Our proposition is to include dinner time in the process of the workshop. We will perform together this moment of the daily life. The idea is that one group (of 5–6 people) proposes a scenography that will have to both feed and stage dinner time by focusing on the theme of the day. The group in charge of the dinner will work on it the whole day, taking care of the shopping, the menu and the organisation in time and space. You will imagine a situation that might break the habitual way of sharing a meal together. We count on you to shift the arrangment of a “normal” dinner with your scenographic tools or whatever score you can invent. We are interested in empowering conviviality, we are interested in the intimacy of digestion, we are interested in being on the edge. The show must go on.