PRACTICAL EXPLORATION

We only managed to get three participants for our practical session so two of us decided to join in to make up the numbers whilst the other filmed and documented the session. We explained our ideas and research question to the group before beginning the practical.

As planned we revealed the objects for seven seconds and asked the group to create a movement from their chosen object.

For example:

Amy chose the glove and created movement based on shape, positioning her body in a way that resembled the dimensions of the glove.

Jess chose the bracelet and created movement based on the design and pattern, moving arm around her wrist in a way that replicated this.

Terri chose the candle and also chose to create movement based on the shape but also incorporated elements of its use. She turned to create the circular shape and used her hands to mimic the flame of the candle.

Charity chose the make up brush and based her movement on the literal use. She created literal movement, using gestural movement to show exactly how you would use this item.

Laura chose the nail varnish bottle and chose to base her movement on literal use. She created movement to show the opening of the bottle and how you would paint your nails.

We then asked them to repeat this process with a new set of objects but this time changing the way that they created the movement, for example Amy would have to create movement based on the literal use of the object rather than the shape. We did this to allow the participants to create inorganic movement and to move in ways they would not necessarily do naturally.  
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The next stage of the session was to focus on seeing how our participants responded to the improvisation of others. To do this we decided to ask them to pick either one of their movements they had created and to develop that through a five minute improvisation task. We wanted the participants to take this movement, use their instinct to come into the space and respond to others movement.

Through this task we saw a variety of shapes, patterns and literal movement in relation to each object. We also saw some relationships being built through repetition of movements and participants joining in and mimicking others at the same time.

However, the most interesting development from this task was seeing them move out of their comfort zones within improvisation even though the development was small, it was interesting to see much more variety in their improvisation movement vocabulary.

We wanted to explore the role of memory each individual has of their own previous dance experience and how this influences them whilst improvising. 

After discussing this question after this task each participant agreed that they felt their previous dance training DID have an impact on the way in which they think about movement and perform it especially within improvisation.

We also asked the participants questions which gave us some important feedback-

Upon seeing that most of the participants responded to the shape of the objects, we asked why this was.

Their responses were-

-Initial reaction to the object.
-visual
-concept

We asked how they thought their previous training had influenced them-

-sceneography
-they generally draw on previous technique training when improvising
-take on others movement

On how they think about entering the space-

- If they see an opportunity to fill the space
-whether or not they can create a dynamic with another person
-creating interest
-whether their movement would compliment another's.
-how the movement would look to the audience.
-Spatial awareness.

When choosing an object what thing did you remember about it the most?

-Shape
-Originality
-Whichever one gave the most opportunity to create movement.