Solution to Problem 2

Technology of visualizing my experience in each one of the different-sized squares.

On February-March 2020, when I decided the dramaturgy of my dancing in each square, that is to be able to say “this square is for me that experience”, I realized that the dramaturgical line of the project commanded a considerable withdrawal of my improvising “freedom”, in order to communicate the research’s dramaturgy by performing within its mechanisms. I responded to this by using pen, pencil, markers and plain paper to produce a system of abstract visual scores, which would translate in geometry the “texture” and kinesthetic forces governing my experience in each square.

march 2020: technology #4
MATERIALS: pen, pencil, markers and blank a5 paper notebook

I started quite the old-fashioned way: automatic writing. In this writing I used pencil and different markers on blank A5 notebook, playing with language and the markers’ different textures to depict feeling, intuition and logic. What was more intense was depicted more intensely, what was repeating itself in me, was doing so also on paper. I was thinking through writing, reflecting on what was happening during the rehearsals, plus having in mind my experience from each square and to create a connection between square’s and movement’s geometry. When the writing was arriving at the desired point, that is to efficiently visualize all these in two (or three) dimensional space, I started drawing. I did this without much breaks, for about five hours.

The way of drawing was also playing its part in this process. I followed a rather kinesthetic process, which resulted in sometimes the drawings repeating themselves until I reached a strong connection with what I want them to transfer (or translate) to me when bringing them in mind while moving. For this reason, I kept reflecting on them from within the process, going back to my writings and drawings of a previous square while in another one by asking myself whether this drawing is that square and so on.

Reflecting on this process and in the way it has affected my movement research in each square, I realize that the production of this dramaturgical notebook of scores has offered:

– an experiential way of not only understanding the dramaturgy, but also a “bird-eye” view of it, which has been helpful in working with the dramaturgy, understanding its weakness and making refinements.
– provocation of creative thinking through making, by helping me in being more consistent while improvising, by instantly producing new movement material, excluding other or displacing certain movements along the different squares.
– a facilitation layer in communicating the dramaturgy with collaborators, which was something I wasn’t expecting when producing it.
– a refueling
of my past research interest on experiential (kinesthetic) applications of geometry in artistic practices.