Progression ( 4_J_1)
5 minute review of camera tools/composition/perspectives (4_J_2)
5 minute run remembering:
“Search for Beauty”, “Personality”, “Relaying Emotion” and “Visible Time” (4_J_3)
Trying New Sequences:
Telling a Story
-How do you tell a story with and without the camera? Do you feel like the subject? What’s the story?
Preserving a Moment
-are you endeavoring to preserve a moment in your vision frame too? or just with the camera? is everyone preserving a moment? What does this bring up for you bodily?
Personality of the camera? or how does the camera contribute to your personality? What does personality DO bodily? What does it do “bodily” to the camera? Is personality being shown only in relationship to the camera, or is it happening in your bodies, between you, in each others’ frames as well? Are you “having a personality”? Are you putting on a personality? In what way is this becoming performative?
How and why do the cameras start to take precedent?
These are all things cameras do, or reasons cameras are used. what happens if we attempt to do these things ourselves, without cameras?
What are the people who are holding cameras doing while they are holding cameras? What does THAT mean?
What kind of moves are you doing?
Should we do many events?
What happens if one or more goes suspiciously dark? What do we do?
warmup, work, watch
detailed score with specific actions
physicality heightens the moment, heightens the person
rapid transfer of frames
what kind of space do you feel like you’re in, or would you want to be in?
dynamic, investigation, curiosity, searching for things- the camera, looking, seeing, composing, frame, perspective, dancers’ experiences, dancers’ perspectives, always changing, can’t be duplicated, something about change, improvisation makes space for discovery and play, can be focused on the process,
stairs, something that could hide you without you leaving the space, sources of light, shadows, mirrors…
Attention, Space, Geometry, Frame, Multiple Frames, Sequencing, Adding Frames
[I’m thinking about this as adding in tools, as opposed to a progression that happens in sequence, one after another. This builds.]
-clearly ignoring the cameras not for the sake of ignoring them but for the sake of being very interested in a different frame at that moment
-what kinds of camera movements are you using as this happens? when do you think to be creative with the way the camera moves?
-when is the camera an extension of my body and when am I composing for its frame?
4 people in their own spaces are listening and also sharing space- one person and two cameras look on but are they participating or listening or… what? the sound of the room is like a perpetual outbreath- it goes and goes, like wind it doesn’t take, it just moves on- and maybe this is why it feels this way.
[an aside: taisha paggett’s work asks this too- is based in a sensorial exploration and reaction to seeing and being seen and existing in a particular place and describing those sensations and that architecture through movement, texture, shape, quality…]
[an aside: Re: Atlas and Cunningham: perfectly crafter geometrically for a specific frame/point of view- we are doing this with our framing but not just for one frame, for the frames of everyone in the room. It is improvisaion- Sgorbati- because of the crucial element of consent in being seen as well as describing exactly your sensations in a moment, which will always be changing, listening to how you feel and describing that with movement is a perfect way of listening to/trusting ourselves, and our wants and needs.]
Camera flip moves!
How is stillness showing up in your bodies too?
Use camera composition tools for the camera and for ourselves