I felt my performance went very well. With the audience I felt the work took on another level. It felt more real.
I knew that before the performance I would have to get in to the right mind-set, to remember the bodily feelings. At this stage I know the movement so it was not something I wanted to think about, I wanted to let the emotional state and the bodily memory to be seen over the movement. When I performed the solo I feel I did exactly that. I forgot about the movement, the technique and focused on the emotion. I lost all control, I felt exactly the way I wanted the audience to see and that definitely came across in the movement.
I got positive feedback about the performance. Comments such as:
“You could really where you started playing with the idea of losing control … You were obviously still in control but had the air of being on the edge and possibly falling”
“You could see the journey of the emotions you went through throughout the performance.”
“I’ve never seen it that let go, that free, that out of control but still within control … it was incredible to watch.”
“I really connected with the emotions, even though I don’t know your story, I was able to relate to different sections with what you were feeling and situations I have been in”
It was great to hear comments like these as it really reinforced my research process. It confirmed that what I was doing was working, as the comments I received were about the things I wanted the audience to see and experience.
I would like to gain some more feedback from a variety of people. I would like to be questioned further about what is seen, about the movement and intention. As a first showing of the work I am very pleased with the feedback I got at this stage.
It was interesting to see and hear about other peoples research during the symposium. Ethan Brockenshire looked at the theory of flow. After my performance and feeling the piece come together, no longer thinking about the movement but being in the moment and all the pieces falling in to place this research really resonated with. He looked at the work of Mihaly Ciskszentmihalyi and the optimal experience. This is something I would be interested in looking in to further and how it can inform my practice as a creator, performer and even as a facilitator and teacher.
Further more, Payge Dodd looked in to the embodiment of emotion from a psychological view point. The workshop she delivered started to tap in to different emotions, how we connect with them and how they are expressed and seen through movement. Relating this to my own research for this solo the workshop was very insightful and something I would like to use in the creation of movement in the future. I feel looking more in to this line of research will develop my own understanding of emotion and how to authentically show this in the work I want to create.
Moving forward I would like to continue to develop this piece and extend it to a 10-12 minute work. In my presentation I did say I wanted to extend the piece to 15-20 minuites, however after a conversation with my mentor, Tom Hobden, it was suggested that a solo piece can be more effective and leave a bigger impression if the work is slightly shorter. Further more, I feel a piece that is 10-12 minuites will be more viable for small choreographic platforms which is where I see this piece going. In the symposium I said the section I presented will form one of 3 sections to the work. The second will include spoken word, a poem or text written by myself with correlating movement. The final section will delve more in to mental health, specifically looking at disassociation as this is something I suffered from as a result of my experience in Peru. I am not exactly sure how this will look yet. It could be a disassociation of what is being said to the movement or disassociation of body parts or of facial expression to body expression. This will need more research in to the mental health issue and practice as research in to which way will best portray what I am wanting. I am still wanting to bring these ideas together but I feel bringing both ideas together in to one section will have more impact. I could use the text as a juxtaposition to the movement and/or still play with the idea of disassociating body parts. A further idea I had about this was to use tape to split the stage in to sections and explore how use of space can used to explore mental health. This would mean the solo is in 2 sections rather than 3.
Furthermore, want to research more in to phenomenology and extend that to other philosophical movements such as existentialism. As I said above I would also like to research psychology, specifically common mental health issues including anxiety, depression and disassociation. Additionally I want to deepen my research by looking at other dance practitioners who have created work and addressed issues similar to the ones I am looking at, questioning and exploring their processes and comparing it to my own.