As Dancers
... we have to consider the fact that every day we are fighting with our bodies and often among each other for Roles and Perfection. It is also possible that our liberation and success can cause unhealthy suppression in another place.
Everyday we face the nerves the fear and the Work of being the best, uncovering our bodies to test out the nakedness of the technique we are learning, exposed every part of our muscular physique. Fear, fear of failure, fear of not achieving the desired perfection a heavy emotion that takes a long time to melt down is too heavy to shift quickly and often the adrenaline of the effort of guiding oneself along these pathways and the friction that this can create in ordinary life is enough to cause physical and mental exhaustion, a depletion of energies
Gnosis. an idea - Do we refrain from physical contact and if so why?
How to earn something or to maintain something of value in order for it to represent the sensation or fabric of soul toward the observer so that it can be remembered as something more personal to the unique individual, either a visual representation or the sensation of awakening that has an effect both on the person in performance and the audience themselves.
To understand that with the ‘Dance’ sometimes I was left wondering what was left - if anything?
i.e - many of us similar in stature constantly moving, touching, mingling with each other the whole time. What is really left in the end? 'I' a willow the wisp so light - you barely notice me, do I, or can I even think to convey to you deep emotion whilst I am so alight and light on a stage? Perhaps it is possible and the lightness can be seen as a covering for the private and heavy suppression of a vibrational blood note hiding beneath my cover - my role, my mask, my character. As dancers we are lucky having the music, we have the music in our bodies during the day and all through the night afterwards. If I have to play an important part I would sometimes play the music on a stereo, or listen to it at least once a day, until it really resonates in my body and in my bones, in fact until every part of my substance recognises its tune. I believe this must be a natural desire of all 'Artists' ; especially a ballerina's to want to be one, complete with the music.
Now we have an opportunity of more visual memories with video, i have a video of two solos's choreographed two years ago for a charity performance, it was then that i had the opportunity to understand the action of self-penetration, a piece - an image of still feeling inadequate - the emptiness of exhaustion after the effort but managing to recognise the moment as magical, although still a lack of weight. (my soul missing?) - 'Weight' that something? 'substance?' - this led me to the subject of sensation and the fact that although emotion is heavy and speaks, what was left was purely the sensation of the magic during the event and in remembering this I became open to the memory of the whole rest of the performance, incredible - as if my soul had recorded it on a video machine, this was when I became more aware of the remaining hidden vibrational elements.
The difficulty arising when we are faced with the prospect of having to deal with our own Individual Mythic Story. ( Abuse of Sacred Soul and the subject of Blasphemy.)
If one abuses, flings abuse in the face of ones own history, in order to invent, re-invent or portray the character one is playing in a ballet or a story, one closes the door to any kind of sincerity because in denying ones deepest roots and putting on another mask, one takes oneself even further away from a demasking, guess this is one reason why Actors and Dancers push themselves to work so hard, i wonder whether it's so right to deny purity and respect to the religious ancestry and birthright of your own or another’s soul, and if you asked the person off whom you borrowed the mask in order to play a part if they would be open to permit this? - perhaps instead they would turn around angry/ disgusted and ask for retribution. I know now through living some of my own life patterns and with the sacrility of my birth, i would most definitely feel an urge to ask!
The exploratory factors of rhythm and language, exactly how far is one prepared to go or can one go, then knowing to that certain degree that one can't help it because the rhythms and tensions have been here for years and in recognizing that there is going to be an eventual outcome in this, one becomes a little more compassionate towards oneself, perhaps the familiar could unconsciously tune into the rhythms of war or revolution which would provoke fear rather than a story or a character. In an answer to life some patterns have been made for survival purposes but can directly psychically invade upon another’s territory; some can even be dangerous or threaten ones own existence. We don't stop enough in our cruelty or bullying, we don't think about where it comes from, (perhaps that original emotion of fear?) I think that we have to try and awaken to a stronger and more urgent message to be careful with our Art, and to be more careful with our Artists, inside and outside the realms of the Theatre........
Formulated and inspired by the writings of Grotowski, Artaud and Sir Peter Brook.
Everyday we face the nerves the fear and the Work of being the best, uncovering our bodies to test out the nakedness of the technique we are learning, exposed every part of our muscular physique. Fear, fear of failure, fear of not achieving the desired perfection a heavy emotion that takes a long time to melt down is too heavy to shift quickly and often the adrenaline of the effort of guiding oneself along these pathways and the friction that this can create in ordinary life is enough to cause physical and mental exhaustion, a depletion of energies
Gnosis. an idea - Do we refrain from physical contact and if so why?
How to earn something or to maintain something of value in order for it to represent the sensation or fabric of soul toward the observer so that it can be remembered as something more personal to the unique individual, either a visual representation or the sensation of awakening that has an effect both on the person in performance and the audience themselves.
To understand that with the ‘Dance’ sometimes I was left wondering what was left - if anything?
i.e - many of us similar in stature constantly moving, touching, mingling with each other the whole time. What is really left in the end? 'I' a willow the wisp so light - you barely notice me, do I, or can I even think to convey to you deep emotion whilst I am so alight and light on a stage? Perhaps it is possible and the lightness can be seen as a covering for the private and heavy suppression of a vibrational blood note hiding beneath my cover - my role, my mask, my character. As dancers we are lucky having the music, we have the music in our bodies during the day and all through the night afterwards. If I have to play an important part I would sometimes play the music on a stereo, or listen to it at least once a day, until it really resonates in my body and in my bones, in fact until every part of my substance recognises its tune. I believe this must be a natural desire of all 'Artists' ; especially a ballerina's to want to be one, complete with the music.
Now we have an opportunity of more visual memories with video, i have a video of two solos's choreographed two years ago for a charity performance, it was then that i had the opportunity to understand the action of self-penetration, a piece - an image of still feeling inadequate - the emptiness of exhaustion after the effort but managing to recognise the moment as magical, although still a lack of weight. (my soul missing?) - 'Weight' that something? 'substance?' - this led me to the subject of sensation and the fact that although emotion is heavy and speaks, what was left was purely the sensation of the magic during the event and in remembering this I became open to the memory of the whole rest of the performance, incredible - as if my soul had recorded it on a video machine, this was when I became more aware of the remaining hidden vibrational elements.
The difficulty arising when we are faced with the prospect of having to deal with our own Individual Mythic Story. ( Abuse of Sacred Soul and the subject of Blasphemy.)
If one abuses, flings abuse in the face of ones own history, in order to invent, re-invent or portray the character one is playing in a ballet or a story, one closes the door to any kind of sincerity because in denying ones deepest roots and putting on another mask, one takes oneself even further away from a demasking, guess this is one reason why Actors and Dancers push themselves to work so hard, i wonder whether it's so right to deny purity and respect to the religious ancestry and birthright of your own or another’s soul, and if you asked the person off whom you borrowed the mask in order to play a part if they would be open to permit this? - perhaps instead they would turn around angry/ disgusted and ask for retribution. I know now through living some of my own life patterns and with the sacrility of my birth, i would most definitely feel an urge to ask!
The exploratory factors of rhythm and language, exactly how far is one prepared to go or can one go, then knowing to that certain degree that one can't help it because the rhythms and tensions have been here for years and in recognizing that there is going to be an eventual outcome in this, one becomes a little more compassionate towards oneself, perhaps the familiar could unconsciously tune into the rhythms of war or revolution which would provoke fear rather than a story or a character. In an answer to life some patterns have been made for survival purposes but can directly psychically invade upon another’s territory; some can even be dangerous or threaten ones own existence. We don't stop enough in our cruelty or bullying, we don't think about where it comes from, (perhaps that original emotion of fear?) I think that we have to try and awaken to a stronger and more urgent message to be careful with our Art, and to be more careful with our Artists, inside and outside the realms of the Theatre........
Formulated and inspired by the writings of Grotowski, Artaud and Sir Peter Brook.
