July 30 to August 17 13:00-16:00 Monday to Friday.
For dancers, musicians, singers, text artists, actors and performance artists.
This workshop is included in the Leading towards Freakatoni Witchy Weekend Program one, two or three weeks and the Single Bookings Program weeks or days at time.
Week 3, Thursday, August 16 Sharon Smith has been invited to teach the Music Theater workshop as part of this three week series. You are invited to book this day on its own. 13:00-16:00
I have been been investigating theater, dance and music with live performance for 35 years. I take a microscopic view on the role improvisation plays in the creation process combining my background as a maker and performer with a curiosity for advances in brain studies. I have worked with music artists from various backgrounds who share my passion for interdisciplinary real time performances. I include text and objects in my performances with an ear on how this can integrate musically as well as produce an objectified meaning. My study and practice of the body is the glue for how I combine all aspects of the performance arts.
I accept artists from all performance art backgrounds without prejudice concerning technical skills or esthetic boundaries.
Tell the brain to tell the mind to shut up – body obey me
I guide performers through physical exercises that highlight how the eyes and ears effect movement choices using my research in “why we learn to walk”. I set up exercises for musicians, text artists and vocalist during the physical work that challenge their ability to create “a band” instantly. Musicians and performers can choose to change roles in these exercises at any given time.
Creativity is messy. Three choices arise out of the messiness; Pause Flow and Exit. Each of these choices are a mountain of study and each of these choices are shared in the space under the guidance of the performer/ artists relationship to their public.
I extend the workshop towards improvisation sessions setting a fictional front in the studio space and then declare this as a platform to choose pause, flow or exit. All three of these actions are studied separately through out the workshop. These three choices provide the frame for a composition to take place while misunderstanding, coincidence, messiness, emotions, intuition, impulse and inspiration feed the content.
I am not interested in the moment, even though it does feel good. I am interested in the fact that time is passing us by. Time moving is what we share with music, sound, sonic, public and most obviously “life”.
The improvisation sessions are given a delegated time frame with an option for the workshop group to shift, drop or lift the space at will. That responsibility places each individual in a position to be fully awake or they will recognizably loose the thread of the creative activity in play.
There is a difference between seeing, looking and watching. A difference between hearing and listening. An artists chooses if they wish for a public to watch or to see – to hear or to listen.
I choose for the public to see and listen and do my best to gather a crowd in that quest. It doesn’t always work and it is never 100% of the public. But because I choose it, who I am as artists is clarified.
The combination of moving, seeing, hearing, feeling and deliberately volunteering to expose myself in front of an audience alters my perception of time, space and emotions. What I do for a living is an induced neuron madness.
Individual development and understanding of presence is critical in this workshop be it in music, text, movement, dance, figure, object or vocals. To amplify how presence is revealed in the artists work, I have invented games that encourage us to reveal vulnerability and/or expressionism.
A fully awake body is rarely pedestrian. The body awake needs to be discovered and demands a discipline beyond everyday tasks.
And yet when movement or dance does not respect the beauty of the body in pedestrian, I become uncomfortable.
I am not attracted to future pain.
Anything less than feeling the body is like watching a dog trying to learn ballet.
In the improvisation sessions, individuals can elect to participate in the performative or as a viewer (front). The aim is to gather the workshop group toin a creative composition process, time is passing at different perceived speeds and that space is shifting in several dimensions at once. This awake fullness promotes individual performance presence, composition alertness and an appetite for creativity.
I will center on one area of study as a theme for research, feedback and reflection each week. If you are doing the full three week workshop you can take advantage of building this study. If you are doing weeks or days at a time, you can choose which area of study is of most interest for you; Week 1 sound – body – tension / Week 2 music – body – text / Week 3 music – object – figure
Major question introduced to the group “What is your relationship to public and how does that relationship formulate the way you compose your work”?
It is abundantly clear when the artist choice has been closed down by solutions portrayed as “ideas”. Scrounging for authorship, these “ideas” place a filter between artist and public. Off with their heads, let the artists choose.
Follow this link to find my research material=What I like