ARE WE "THE ARCHIVE"?
In a theatre situation, have you ever thought you are the book, you are the catalogue...like in a museum exhibition? Yes, you are the archive of what you've hust seen.
During the Tanz Platform in Hamburg, THE ARCHIVE OF PERFORMANCE explores local discussion cultures on performances and puts practices and methods of reception up for debate. In this format, based on the exchange of experiences and knowledge, the guests themselves are the archive:
How and from which perspective do they exchange thoughts on what they have seen? And with what response on their opinions met?
There were also some listening paths in which the shown performances can be remembered through listening.
I followed the Isabelle Schad DER BAU and some questions raised on me:
- How do I recall a performance?
- Who would like to know my opinion?
- Where can I once again visualise what I have seen?
- What do I take along from a performance?
- What do I have behind?
- How can I communicate the performance to someone doesn't see it?
The next time you see a show, think about it!
A blog for practice
This blog is an exercise in communicating about contemporary dance. It is an exercise, a practice in finding words, images and maybe sounds for when we cannot dance it. We will be observing and studying dance works and/or creation processes and we will try to grasp that moment of being engaged, that sensation of being drawn into a work, when time disappears and we find ourselves in another world. A question that arises is what are the parameters for dance to communicate? Do we all share those parameters, or do they differ, if so, how? Per local context? Gender? Social class? Education? Individual? Generation? Or are we able to find shared grounds in order to understand when we perceive communication through dance, to then be able to communicate about dance. The Hamburg residency has been a fruitful opportunity to be discussing those parameters and understand a bit more of how another person sees or perceives a work.
We don’t have answers, yet, but we hope to find some, because we wish to share the beauty of the theatrical body, in motion, sharing energy in time and space, with you, our (potential) audience.
Now, the image below does not refer to any dance piece, but those locks on that bridge do communicate a clear message...
My study case in Hamburg
How to be visible ? Collection of communication materials at Tanzplatform, Kampnagel, K3
By Tatiana Galleau - Le Pacifique | CDC
ABECEDANCARIUM
A like Acknowledging the Audience
B like 8 Brocades or Brain wash
C like Communicating, Casino, Confusion, Choreography, (brave) Conversations, Coming Closer
D like Duration: Is that a German thing? (Martina and Roberto)
E like European union leonardo lifenlong learning programme
F like Facial expression, 15 variations on.
G like Goal:
- What specifically is your goal?
- Is any part measurable?
- How much of it is in your control?
- How will you know when you've achieved it?
(Thanks Giorgia)
H like Hat upon beautiful Anja Müller, Hat adjusting to turning planets
I like Imagine that you saw the show on your own. Imagine that it would have been the last show that you witnessed.
J like Joy. Positive expectation beforehand: enJoying watching dance?!
K like k1, k2, k33, k4, kx, k6. Otherwise just ask Kerstin.
L like Listening:
- Day 1: Listening in a coaching style: Reflect back// open questions// space, silence
- Day 4: Person A is telling about her/ his learning experience in 8 min. Person B is listening for facts while Person C is listening for emotions and (or Person D) with intuition. Person B and C (and D) are telling their information in approx. 7 min each. Swop roles!
M like Menu option Nr. 3 in Bassano. Can we please all have an additional meeting there?
N like Nine thirty in the morning...
O like Occupation Or need for Order
P like Pitching vs. Petcha kucha, Pissing Boris Charmatz vs. Pissing Frank Willens
Q like Quick 20th century dance history review OHNE TITEL
R like Rule Nr. 10 is breaking all the Rules (last show)// Row 25 (first show)
S like Stealing. Credits to Antonia Baehr!
T like Tits on a Table under a Tremendous smile
U like Unexpected networking
V like Veronika:
- age: 56
- city: Munich
- profession of partner: wine maker (husband)
- last holidays: Tirol
- dress: Stella Mc Cartney
(she's a choreographer btw)
W like What the fuck is contemporary dance?
X like X-trovert (takes energy out of being with people)
Y like Yes!
Z like leaving Zentralfoyer (don't spread the password) for communicating Zodiac at 2pm while dancing and singing to Zaz
And the end is ... Zagreb!
SNAPSHOTS from Tanzplatform_Hamburg
