Bucharest workshop

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Beatrice Jarvis workshop Tuesday 29th May

Text of Bucharest workshop

  • You / Your City

    Talking your walk. A workshop exploring the city through Movement, writing, photography and drawing To explore what place and space means to you.

    Tuesday 29th May BUCHAREST.

    Run by Beatrice Jarvis

  • Your Tool Kit: One disposable camera One notebook One set of Pencils Some wool This text. The concept: For 4 hours the city will become something new! The city will be your playground, your archive, yours. Using photography, movement, talking and writing; we will explore each participants understanding and appreciation of the city. We will alternate between city and studio, working in small groups and coming together as whole also. Close your eyes for 24 breaths and write down what you noticed for these breaths. Note your sensations. This is the start of being mindful, you your selves and to your environment.

    Welcome! Lets begin!

  • The vocabulary of the street. The movement of a city. The narrative of a city and how the city lives in you and how the city is moved by you. This is a simple exercise in which the city can begin to be owned by you. Imagine the spaces in the city, which you feel most comfortable; most uncomfortable and take these, spaces and allow yourself to generate them as mode of stimulus for movement and photography. Arrive to the University. Introduction: Arriving with body and mind! We will play a few simple games to learn each of our names and get to know each other a little. By the end of the session we will have answered the following questions;

    What is your relationship to Bucharest ? What is your relationship to Dance? How does your relationship to dance affect your relationship to Bucharest? Do you regularly/occasionally partake in social dance activities in Bucharest

    (Clubs/ socials/ outings/ church events/weddings/exercise classes) How far do you feel dance/movement contributes to the local culture in

    Bucharest? Then we will do some simple warm up exercise to allow both our mind and body to arrive to the space. Exploring the movements which come naturally to you; we will explore ideas of walking, sitting and lying; passing each other; small runs and jumping over a puddle step; all the movements which you use in every day life. We will explore some movements, which you may have also learnt, from dance classes. This is not strictly a dance workshop; rather exploring how your body moves through space and the various spatial negotiations you make on a daily basis. We will explore a few exercises: I have written some down so you can practice them at home whenever you like. The time to be still. Stillness is a state of complete awareness. It is a place to reconnect with the knowledge and truth of your own spirit. Stillness allows you to search for the answers and its a place of calmness and certainty. Stillness can be found in ordinary daily events. While its optimal to put yourself in a state of dead

  • stillness; this may not always be practical. Instead, look for opportunities to practice stillness as you go about your day. - Lie comfortably on the ground. - Feel the shape of your form and body - From the soles of your feet to the crown of your head - Let the length of the spine open - Let go of the need to do anything - Let go of the chatter of your thoughts - Be empty - Rest - Take the time to breathe - Let the field of your attention soften and spread out - Sense the temperature of the ground; the air - Sense the time of day/ the season / the light - Open your ears, listen, let in all the sounds around you. - Let each eye soften and sense light and shadow - Make a visual map of the inside of your body and allow yourself to care how you feel today and now. Margate, from the Sea 1835-40, Joseph Mallord William Turner

  • Walk together: Take a partner: fall into a rhythm of the shared step Let the backs of your hands touch Give way to the momentum and rhythm of the shared walk Follow Allow changes of direction/ shifts / circles Explore walking when one person has their eyes closed: allow yourself to be lead Conversation: To be in conversation is to be in what flows In and amongst and between you To be present in conversation is to be in and speak of the world, The next series of exercises are all based around the idea of talking your city. TALK A WALK Take a walk around the room and each time you hear chime Stop and find the person nearest to you Take a minute to shake hands and look each other in the eye for a brief moment. Then say a small sentence about the city This can be a memory of the city This can describe a place in the city This can be to say your favorite place in the city This can be to say where you least like in the city After you have had four exchanges; the next person you meet (chime 5) tell the next person you meet all that you can remember about what you have heard.

    Move to tell a story Discover its elements while you are moving

    Move to send a message A message of yourself and the story

    Move to the rhythm of the words of anothers story and the details, which they tell you of.

  • Talking your place: you / your city How do you live in the city? The scenes and sounds of everyday life. A constant inspiration and resource. How can they be removed from their context? Can our bodies and our minds transpose landscape into another context?

    What are your routines in the city? Where do you go most frequently in the city and where do you avoid to go in the city? Do you have a favorite place in the city and can you describe why this is your favorite place? Do you walk regularly in the city and how well can you describe the routes you walk. Find a group of three people and tell to them a story/ narrative which you have experienced in the past month. When telling the story; keep three things in focus: the location of the story: tell us the textures you see there: the journey there: where do you pass: an action/ event that happened in the space/ your departure from the space. To the same group: tell a story/ narrative about the city from your earliest memory of the city. The two listeners write down the key points of the story and draw and write them down. The idea is by the end all 6 stories will be on the same page of the story. Next collectively make up one story (this can be one story which someone told or it can be a mixture of all stories) and tell it collectively; using some actions and gestures to reflect the places in which the story happened. Use some props (chairs and tables) to further enact the story.

  • ENTER THE CITY: How can the body become a reflective mechanism for the experience of the body in the city? How far can the city be shaped and moulded by the actions and reactions of the body? THE CITY IS THE CHOREOGRAPHY OF LIFE, AND IT CAN BE USED AS RESOURCE FOR ARTISTIC PRACTICE; IT CAN FORM A PRODUCTIVE AND SUBSTANTIAL INPUT FOR THE CREATIVE MIND. THE MOTIFS OF HUMAN FORM REPEAT ON THE STREETS, TO BE OBSERVED, INTERPRETED, OR SIMPLY LEFT IN THEIR FLUX. CRESCENDOS AND DIMINUENDOS OF THE BUSTLING STREET RISE AND FALL WITH THE BREATH OF THE CITY, A LIVING ORGANISM, WHICH ONE CAN WALK UPON, IN, BESIDE AND AMONGST.

  • Our consciousness is like a body interacting with the

    exterior world. Because our nerves cannot extend beyond

    our skin, we only really sense our selves in contact with

    the larger world, but separate from it. In the same way

    we only know what is present within our consciousness,

    contours and textures of an infinite world that exists

    beyond the boundaries of knowledge. 1

    To look at human movements as action signs is to

    conceive the human body itself as signifier, to conceive

    of the body as a signifying body. What this means is that

    we have to conceive of human act/actions as embodied

    intentions and that we have to be able to see a lived

    space as intentionally achieved structuring, some that

    has been willed or is now willed by someone or some group

    of persons. 2

    1 Kent De Spain in Albright. A. C. Gere. D (eds) Taken by Surprise. A Dance Improvisation Reader. Wesleyan University Press. P37 2 Farnell. B ( 2001) Human Action Sign in Cultural Context. The Visible and Invisible in Movement and Dance. The Scarecrow 2 Farnell. B ( 2001) Human Action Sign in Cultural Context. The Visible and Invisible in Movement and Dance. The Scarecrow Press. Maryland. P53

  • This unique workshop series explores Bucharest as a studio; collecting and gathering observations and stimulus from daily urban life; as resource for personal performance devising. This workshop unites dance, choreography, performance making, sociology and photography as a means to generate unique urban self-portraiture and reflection. Exploring the experience of the city as primary resource; these workshops will provide a unique experience for exploring creative choreographic methods to explore the city through the construction of a unique personal movement journey. We will now leave the University In groups of no more than 6. Before we leave: each group will decide two specific places where they wan to go. How do we decide where to go? Why are we going? How do we ensure we are still fully focused in the workshop environment? How do we collect our walk? How can we collect movement? How do we use a camera and our body to collect experience of the city? The process is simple: each person presents a location within the proximity suggested on the map (This will be of the city center limits and attempting not to go to far beyond this) we will plot all the locations together coll