4th INTERNATIONAL KINITIRAS
CHOREOGRAPHY LAB SUMMER 2013
Workshop description:
Ana
Sánchez-Colberg: What is ‘a process’? (July 4th-5th)
We will explore practically what is meant by a research and
creative ‘process’: under what conditions it develops, changes,
fluctuates. How is development measured and judged in order for the next stages
of evolution to take place? Significantly we will explore the issue of
the artist within the process, who we are and what we become in and
through a process in dance. Important to the workshop will be to shift
our understanding of choreographic practice away from the fabrication of
brandish-able cultural objects to the nurturing of articulate social and political
practitioners who are willing to questions assumptions and orthodox
perspectives of what dance is and what impact it has as a form of human
interactive behaviour and exchange.
Andreas
Dyrdal: What is a practice? (July 8th-9th)
Andreas’ workshop will facilitate the exploration of the
idea of ‘ a practice’, what is it and how we relate to it. The workshops
will explore the framework of rules that continuously are in a state of flux
with the objects that dance-makers make. This framework is what Andreas
proposes as practice and it's what enables us to have a discussion with
the work is made whilst making it. Working with participants in the LAB Andrea
will propose simple practical choreographic tasks that everyone will do on
their own during the workshop. In the background participants will
simultaneously be aware of everyone’s practise (either strong or
weak) and capture it, try to define it, make it transparent, challenge it and
discuss with it, to see whether it can shine new light on the work that we make
and essentially produce the right kind of questions.
The workshops will explore the relationship between sound
and movement in performance and attempt to re-question and redefine the terms
of their coexistence, which is often considered as self-evident and taken for
granted. Approaching music as an organized system of sounds
in specific structures, we analyzed their basic elements, the rhythm, pitch,
nuance, intensity and speed as well as the morphology of a musical composition
and explored the ways in which these elements are embedded in movement, in
order to form a common vocabulary between dance and music that could allow
dialogue between them.
John-Paul Zaccarini: Failure (July 22nd-23rd)
These workshops will explore the notion of failure as a
choreographic possibility, when the smooth machinic functioning of technique
encounters a problem and has to consider itself. It takes as a starting point
the difference between the body as ready-to-hand, obedient, unquestioning,
purposeful and the body as present-to-hand, broken, disobedient, useless for
the task. We will look at the body not fit for the simple task of moving and in
so doing discover a choreographic dramaturgy of the ego not getting what it
wants. In this way we may find some surprise, something new by forcing the body
to fail in its old routines and so to find new pathways to satisfactions
un-thought of by the healthy, unquestioning body. This is to see the body as a
tool that successfully repeats its ‘instrumental’ function and what happens
when we purposefully break that tool, or take it out of its comfortable
context.
Kiriakos Spirou (July 18th-19th)
Kiriakos will give a practical introduction on
structured improvisation and instant composition, and the use of scores,
drawings and texts as a device for preparing and getting through a
performance. Particular emphasis will be placed on the music score of a dance
performance: What is really a music score to a dance artist and how
does s/he relate to it? Kiriakos will also demonstrate, through
examples of repertory and group exercises, how a methodology of tasks
and collaborative composition can be used as a common ground for
interdisciplinary work and performance. In addition, he will
be available throughout the Lab, either for individual meetings,
research sessions, or via email, to offer feedback and practical
assistance on issues of music, composition in general, and dramaturgy of
the participants' independent projects.
NOTE: Given
its international character, the sessions are conducted in ENGLISH
