{"id":1150,"date":"2013-08-11T08:37:22","date_gmt":"2013-08-11T08:37:22","guid":{"rendered":"http:\/\/rescen.net\/blog5\/?p=1150"},"modified":"2013-08-11T13:49:36","modified_gmt":"2013-08-11T13:49:36","slug":"after-the-fact-2-group-b-again","status":"publish","type":"post","link":"https:\/\/rescen.net\/blog5\/2013\/08\/after-the-fact-2-group-b-again\/","title":{"rendered":"After-the-Fact 2: Group B again"},"content":{"rendered":"<p>Tung, <nobr>I-Fen<\/nobr> brings in\u00a0some exercises she herself has experienced in\u00a0a\u00a0workshop possibly earlier that same day. One dancer\u2019s spine is like a\u00a0table upon which another dancer rests their arms at\u00a0the\u00a0neck and\u00a0base of\u00a0the\u00a0spine. There is much rocking and\u00a0swaying as\u00a0these human tables raise themselves up into a\u00a0standing position, twist and\u00a0slant and\u00a0turn and\u00a0eventually descend again. They\u2019re allowed to\u00a0be unstable. The\u00a0person \u2018atop\u2019 the\u00a0\u2018table\u2019 must stay in\u00a0touch, applying some weight or\u00a0pressure without stifling the\u00a0potential of\u00a0the\u00a0person below. The\u00a0point, as\u00a0the\u00a0choreographer explains, is \u2018how to\u00a0find new movement, new points of\u00a0contact\u2019 by\u00a0focusing on\u00a0a\u00a0part of\u00a0the\u00a0body we don\u2019t think that much about. (What parts do we think about? Inevitably we take our bodies \u2013 such marvellous vehicles of\u00a0function and\u00a0expression \u2013 for\u00a0granted. We can\u2019t help it. Sance is there to\u00a0remind us how much a\u00a0body can do\u2026)<\/p>\n<p>Next it\u2019s just hands instead of\u00a0whole arms, down to\u00a0the\u00a0elbow, that are being used atop each \u2018table.\u2019 This seems to\u00a0allow for\u00a0greater freedom on\u00a0both sides. I\u00a0like it when one \u2018table\u2019 feigns sleep, as\u00a0does the\u00a0dancer on\u00a0top. They switch roles, the\u00a0new \u2018table\u2019 taking time to\u00a0\u2018wake up.\u2019 As\u00a0the\u00a0exercise progresses it\u2019s plain that Tung, <nobr>I-Fen<\/nobr> wants each cast member at\u00a0this stage of\u00a0creation to\u00a0<nobr>de-rigidify<\/nobr> his or\u00a0her spine. Set to\u00a0a\u00a0track of\u00a0music (ethereal voice and\u00a0strings), this process of\u00a0loosening up individually and\u00a0<nobr>getting-to-know<\/nobr> each other is probably happening in\u00a0one form or\u00a0another in\u00a0most of\u00a0the\u00a0studios during this first week of\u00a0ArtsCross. A\u00a0finding of\u00a0feet, as\u00a0it were, as\u00a0well as\u00a0other body parts\u2026<\/p>\n<p>Now it\u2019s time for\u00a0another exercise in\u00a0which the\u00a0person behind places his or\u00a0her hands on\u00a0another\u2019s ribs in\u00a0acts of\u00a0direction or\u00a0support. \u2018It should be really comfortable if you isolate,\u2019 says Tung, <nobr>I-Fen<\/nobr>. The\u00a0dancers shoot off on\u00a0many tangents, rotating or\u00a0bouncing gently. \u2018Let it go so you can really feel it,\u2019 they are told. The\u00a0work is subtle, tender and\u00a0a\u00a0little bit risky. \u00a0In\u00a0a\u00a0mutually dreamy exchange Li, <nobr>Yi-Chi<\/nobr> closes his eyes as\u00a0does the\u00a0young woman behind him.\u00a0 \u2018If you\u2019re falling don\u2019t worry how to\u00a0make the\u00a0energy spread out,\u2019 says Tung, <nobr>I-Fen<\/nobr>. I\u00a0notice Kate Cox and\u00a0Evita Pitara exploring each other\u2019s energies and\u00a0capacities via a\u00a0kind of\u00a0<nobr>rib-based<\/nobr> tango. I\u00a0also clock how pretty fully documented all of\u00a0this creation is, as\u00a0Andrew Lang is in\u00a0the\u00a0studio with me filming and\/or\u00a0photographing.<\/p>\n<p>I\u00a0end up in\u00a0Studio 10 where Ho, <nobr>Hsiao-Mei<\/nobr> \u2013 our lady of\u00a0the\u00a0raincoats \u2013 seems to\u00a0know what she wants and\u00a0at\u00a0the\u00a0same time does not. The\u00a0work is ceremonial, with raincoats shed like skins. The\u00a0movement is loose, flung out and\u00a0swirly, and\u00a0primarily consisting or\u00a0solos and\u00a0duets which the\u00a0other dancers watch or\u00a0wait upon while facing another direction. The\u00a0musical track sounds like a\u00a0fusion of\u00a0contemporary guitar and\u00a0Chinese traditional instruments. The\u00a0dancers take their cues off of\u00a0each other, with Henry Curtis and\u00a0Petros Treklis really going for\u00a0it when they get the\u00a0chance. Ho, <nobr>Hsiao-Mei<\/nobr> is focused on\u00a0both detail and\u00a0sometimes the\u00a0bigger picture that\u2019s in\u00a0her head. She\u2019s composing and\/or\u00a0constructing on\u00a0her feet, as\u00a0she goes along, relying a\u00a0lot on\u00a0the\u00a0dancers for\u00a0inspiration. It\u2019s as\u00a0if she\u2019ll know what she wants only when she sees it, but also what she doesn\u2019t want.<\/p>\n<p>There\u2019s an\u00a0undercurrent of\u00a0tension in\u00a0the\u00a0room as\u00a0the\u00a0dancers try to\u00a0make this compute. Some are apparently meant to\u00a0be manifestations of\u00a0Azzurra Ardovini\u2019s spirit, like guiding angels or\u00a0some silent, vaguely <nobr>Matrix-y<\/nobr> variation on\u00a0a\u00a0Greek chorus. But they\u2019re not entirely sure. \u2018What are we representing?\u2019 asks Katie Cambridge. There are many possibilities and\u00a0choices about which Ho, <nobr>Hsiao-Mei<\/nobr> isn\u2019t ready to\u00a0be pinned down. \u2018Walk\u2026somewhere,\u2019 she says to\u00a0the\u00a0angelic Katie, Henry and\u00a0Petros, and\u00a0they do, and\u00a0eventually she makes decisions about each. This thinking on\u00a0her feet is rather fascinating. I\u00a0respect the\u00a0dancer\u2019s facility and\u00a0adaptability as\u00a0her tools, while also appreciating their possible frustrations. There are conflicted attitudes operating both within the\u00a0dance and\u00a0the\u00a0studio containing its creation. But, much as\u00a0Azzurra\u2019s angels find a\u00a0place where she can rest and\u00a0be supported (important after the\u00a0difficulties entailed in\u00a0a\u00a0lift and, on\u00a0her part, a\u00a0twist), I\u00a0trust that this cast will receive the\u00a0support they need from\u2026somewhere.<\/p>\n<p>END<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tung, I-Fen brings in\u00a0some exercises she herself has experienced in\u00a0a\u00a0workshop possibly earlier that same day. One dancer\u2019s spine is like a\u00a0table upon which another dancer rests their arms at\u00a0the\u00a0neck and\u00a0base of\u00a0the\u00a0spine. There is much rocking and\u00a0swaying as\u00a0these human tables raise&hellip; <\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[1],"tags":[],"class_list":["post-1150","post","type-post","status-publish","format-standard","hentry","category-general_posts"],"jetpack_publicize_connections":[],"jetpack_shortlink":"https:\/\/wp.me\/p8mnDM-iy","jetpack-related-posts":[{"id":543,"url":"https:\/\/rescen.net\/blog5\/2013\/08\/watching-in-a-high-speed-world\/","url_meta":{"origin":1150,"position":0},"title":"Watching in a High Speed World&#8230;","author":"Rebecca Loukes","date":"4 August 2013","format":false,"excerpt":"After Martin's seminar yesterday on\u00a0Practice as\u00a0Research, where he encouraged us to\u00a0think about the\u00a0ways we're watching the\u00a0work in\u00a0the\u00a0studios and\u00a0how we communicate what we see, I\u00a0recalled being in\u00a0Riccardo's rehearsal the\u00a0previous evening. \u00a0While cueing the\u00a0sound for\u00a0a\u00a0run through of\u00a0part of\u00a0a\u00a0sequence he noticed his phone and\u00a0jokingly asked the\u00a0dancers, 'Who's tweeting about me?' Laughing, he asked\u2026","rel":"","context":"In &quot;General posts&quot;","block_context":{"text":"General posts","link":"https:\/\/rescen.net\/blog5\/category\/general_posts\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":680,"url":"https:\/\/rescen.net\/blog5\/2013\/08\/cats-cradle\/","url_meta":{"origin":1150,"position":1},"title":"Cat&#8217;s Cradle","author":"Rebecca Loukes","date":"5 August 2013","format":false,"excerpt":"Following Martin's blog post (Unravelling and\u00a0Rewinding Identities) I\u00a0was in\u00a0Zhao Liang's rehearsal yesterday afternoon. \u00a0The\u00a0group was looking at\u00a0a\u00a0picture on\u00a0an\u00a0iphone of\u00a0one of\u00a0the\u00a0intricate positions they can had created using their giant elastic band. \u00a0They were trying to\u00a0solve a\u00a0very concrete problem, together (see photo below). In\u00a0the\u00a0sequence I\u00a0observed, a\u00a0giant elastic band was winding and\u00a0unwinding as\u00a0the\u00a0dancers\u2026","rel":"","context":"In &quot;General posts&quot;","block_context":{"text":"General posts","link":"https:\/\/rescen.net\/blog5\/category\/general_posts\/"},"img":{"alt_text":"image","src":"https:\/\/i0.wp.com\/rescen.net\/blog5\/wp-content\/uploads\/2013\/08\/image-300x224.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":205,"url":"https:\/\/rescen.net\/blog5\/2013\/07\/working-through-question-marks-over-and-over-time\/","url_meta":{"origin":1150,"position":2},"title":"Working through question marks, over and over time","author":"Steffi Sachsenmaier","date":"25 July 2013","format":false,"excerpt":"Over the\u00a0past couple of\u00a0days it has become noticeable to\u00a0me in\u00a0each rehearsal space that a\u00a0shift has already occurred in\u00a0each group from a\u00a0stage of\u00a0early beginnings and\u00a0getting to\u00a0know each other to\u00a0\u2018setting something up\u2019. The\u00a0feeling that I\u00a0got in\u00a0each space, albeit distinct with each group, is one related to\u00a0a\u00a0working with many ideas that yet bring\u2026","rel":"","context":"In &quot;General posts&quot;","block_context":{"text":"General posts","link":"https:\/\/rescen.net\/blog5\/category\/general_posts\/"},"img":{"alt_text":"IMG_0511","src":"https:\/\/i0.wp.com\/rescen.net\/blog5\/wp-content\/uploads\/2013\/07\/IMG_0511-300x238.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":254,"url":"https:\/\/rescen.net\/blog5\/2013\/07\/qualities-part-2\/","url_meta":{"origin":1150,"position":3},"title":"Qualities, Part 2","author":"Martin Welton","date":"26 July 2013","format":false,"excerpt":"For\u00a0good or\u00a0ill, 'quality' (or\u00a0'qualities') is the\u00a0term and\u00a0idea I\u00a0can't stop thinking about this year. Lodged somewhere in\u00a0my\u00a0memory is my\u00a0slightly perplexed seventeen year old self reading Robert Pirsig's Zen and\u00a0the\u00a0Art of\u00a0Motorcycle Maintenance. I\u00a0haven't returned to\u00a0the\u00a0book in\u00a0the\u00a0intervening decades, but what my\u00a0memory (and\u00a0a\u00a0brief dip into Wikipedia) reminds me, is that, leaving the\u00a0two-wheeled travelogue to\u00a0one\u2026","rel":"","context":"In &quot;General posts&quot;","block_context":{"text":"General posts","link":"https:\/\/rescen.net\/blog5\/category\/general_posts\/"},"img":{"alt_text":"IMG_0480","src":"https:\/\/i0.wp.com\/rescen.net\/blog5\/wp-content\/uploads\/2013\/07\/IMG_0480-300x225.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":174,"url":"https:\/\/rescen.net\/blog5\/2013\/07\/beginnings\/","url_meta":{"origin":1150,"position":4},"title":"Beginnings&#8230;","author":"Steffi Sachsenmaier","date":"23 July 2013","format":false,"excerpt":"Yesterday was my\u00a0first day of\u00a0watching rehearsals, and\u00a0for\u00a0most groups it was their second day into the\u00a0work. I\u00a0left in\u00a0the\u00a0evening with a\u00a0variety of\u00a0very touching impressions, of\u00a0people from different places getting to\u00a0know each other. When I\u00a0entered the\u00a0room of\u00a0Beijing choreographer Zeng Huangxing's rehearsal, I\u00a0was struck by\u00a0the\u00a0quietness he had created in\u00a0the\u00a0room. The\u00a0six dancers were paired up,\u2026","rel":"","context":"In &quot;General posts&quot;","block_context":{"text":"General posts","link":"https:\/\/rescen.net\/blog5\/category\/general_posts\/"},"img":{"alt_text":"IMG_0473","src":"https:\/\/i0.wp.com\/rescen.net\/blog5\/wp-content\/uploads\/2013\/07\/IMG_0473-300x225.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":769,"url":"https:\/\/rescen.net\/blog5\/2013\/08\/%e8%b7%a8%e8%89%ba%c2%b7%e8%a7%82%e5%af%9f%ef%bc%88%e4%b8%89%ef%bc%89\/","url_meta":{"origin":1150,"position":5},"title":"\u8de8\u827a\u00b7\u89c2\u5bdf\uff08\u4e09\uff09","author":"TONG Yan","date":"5 August 2013","format":false,"excerpt":"1\u3001\u8fd9\u4e00\u523b\uff08very moment\uff09 \u821e\u8e48\u662f\u65f6\u95f4\u7684\u827a\u672f\uff0c\u8fd9\u4e00\u523b\u7684\u77ac\u65f6\u53d1\u751f\u4e0e\u53d1\u5c55\u8ba9\u821e\u8e48\u6210\u4e3a\u201c\u6d3b\u751f\u751f\u7684\u827a\u672f\u201d\uff08living art\uff09\uff0c\u662f\u65e0\u6cd5\u4f5c\u5047\u4e0e\u518d\u73b0\u7684\u827a\u672f\u3002\u5728\u53f0\u5317\u7f16\u5bfc\u82cf\u5a01\u5609\u7684\u6392\u7ec3\u4e2d\uff0c\u6b63\u5982Chris\u5728\u535a\u5ba2\u4e2d\u6240\u5199\u7684\u201cStudio and\u00a0stage\u2026space and\u00a0place\u201d\uff0c\u5728\u6211\u770b\u6765\uff0c\u5c31\u662f\u5728again and\u00a0again\u4e2d\uff0c\u8fd9\u4e00\u523b\u663e\u5f97\u90a3\u4e48\u53ef\u7231\u2014\u2014\u56e0\u4e3a\u5b83\u7684\u771f\u5b9e\uff1a\u65f6\u95f4\u5728\u53d8\uff0c\u6c14\u606f\u5728\u53d8\uff0c\u8fd0\u52a8\u5728\u53d8\uff0c\u8fd9\u6216\u8bb8\u5c31\u662f\u821e\u8e48\u7684\u9b45\u529b\u3002\u6240\u4ee5\uff0c\u82cf\u7684\u521b\u4f5c\u662f\u5f00\u653e\u7684\uff0c\u770b\u5f97\u5230\u8fd9\u4e00\u523b\uff0c\u4f46\u662f\u4e0d\u77e5\u9053\u4e0b\u4e00\u523b\u2014\u2014\u5982\u540c\u5386\u53f2\u7684\u4e0b\u4e00\u523b\u65e0\u6cd5\u9884\u77e5\u4e00\u6837\uff0c\u6b63\u5f0f\u6f14\u51fa\u65f6\u7a76\u7adf\u4f1a\u600e\u6837\uff1f 2\u3001\u8fd9\u4e00\u5904\uff08very place\uff09 \u821e\u8e48\u662f\u7a7a\u95f4\u7684\u827a\u672f\uff0c\u8fd9\u4e00\u5904\u7684\u7269\u7406\u5b58\u5728\u548c\u53d8\u5316\u8ba9\u821e\u8e48\u6210\u4e3a\u201c\u89c6\u89c9\u827a\u672f\u201d\uff08visural art\uff09\u3002\u9664\u4e86\u65f6\u95f4\u7684\u53d8\u5316\uff0c\u4ecestudio\u5230stage\u7684\u7a7a\u95f4\u53d8\u5316\uff0c\u4f1a\u5f71\u54cd\u821e\u8005\u5728\u8868\u6f14\u573a\u57df\u5185\u7684\u7a7a\u95f4\u611f\u77e5\uff0c\u90a3\u4e00\u523b\u7684\u821e\u52a8\u5c06\u4f1a\u600e\u6837\uff1f\u5317\u4eac\u7f16\u5bfc\u8d75\u6881\u5728\u6392\u7ec3\u4e2d\u544a\u8bc9\u88ab\u7ed1\u5e26\u56f0\u4f4f\u7684\u821e\u8005\uff0c\u5982\u679c\u6f14\u51fa\u65f6\u88ab\u7f20\u4f4f\u7684\u8bdd\u5c31\u76f4\u63a5\u8131\u4e0b\u6765\u2014\u2014\u8fd9\u4e00\u65b9\u9762\u662f\u5bf9\u821e\u8005\u89e3\u51b3\u7a81\u53d1\u72b6\u51b5\u7684\u5efa\u8bae\uff0c\u53e6\u4e00\u65b9\u9762\u4e5f\u201c\u5267\u900f\u201d\u4e86\u821e\u53f0\u548c\u6392\u7ec3\u5ba4\u4e4b\u95f4\u5b58\u5728\u5dee\u5f02\u7684\u82e5\u5e72\u53ef\u80fd\u6027\u4e4b\u4e00\uff0c\u8fd9\u4e00\u5904\u53ea\u662f\u8fd9\u4e00\u5904\u3002 \u6240\u4ee5\uff0c\u821e\u8e48\u53ea\u5728\u6b64\u65f6\u6b64\u5730\uff0c\u771f\u5b9e\u5730\u611f\u53d7\u5b83\u7684\u6c14\u606f\uff08Auro\uff09\u5427\u3002 Translation... ArtsCross Observations (3) 1. This very moment Dance is a\u00a0time-based art form. The\u00a0way in\u00a0which dance occurs within a\u00a0moment, before evolving and\u00a0developing makes dance a\u00a0\"living art\". It is an\u00a0art form which cannot be faked or\u00a0reproduced. During the\u00a0rehearsals with\u2026","rel":"","context":"In &quot;General posts&quot;","block_context":{"text":"General posts","link":"https:\/\/rescen.net\/blog5\/category\/general_posts\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/posts\/1150","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/comments?post=1150"}],"version-history":[{"count":7,"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/posts\/1150\/revisions"}],"predecessor-version":[{"id":1170,"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/posts\/1150\/revisions\/1170"}],"wp:attachment":[{"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/media?parent=1150"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/categories?post=1150"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/tags?post=1150"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}