Creating 2.0 Contact
Playing with parameters
During the creation of 2.0 Contact we would use Pulse in response to stimulus to discover motifs that could be developed into scenes. In some cases we developed motif through a physically active dialogue around parameters, the following is an example.
The video below is an exploration of a motif called Head Dance. We created Head Dance during the devising process of 2.0 contact. Originally we developed this motif using Pulse, eventually the motif became solid enough to become its own exercise. The aim of the motif was simple move through the space as a duet keeping our heads in contact at all times. This became our base parameter for exploitively improvising how this motif worked, as shown in the video.
Physically Active Dialogue
Once we are done improvising we begin to list the key moments that we observed from inside the improvisation, being sure to remain physically active in our discussion. Remaining physically active is a simple but crucial part of the process because when performers do not re-enact their discoveries in conversation, too much of the conversation is wasted on what happened. By engaging in a physically active form of dialogue, dialogue becomes clearer and we can progress efficiently and playfully.
The image below is the result of these conversations. The purpose of these conversations in to create parameters that will help discover greater possibilities within the motif. With each improvisation and conversation we build and refine these parameters until we have a set that work in tandem with the motif to create a scene.
Developing the motif
We never consider these scenes to be complete pieces of work. The video below was filmed half way through the rehearsal period after we have strung together our parameters to find the choreography for the scene, in a stream of conscious like fashion.
In the discussions following this, we continue active discussion around parameters to find the details of the scene. Making sure to respond physically to every offers made.
"what is the scene with our hands behind our backs"
"Can we see that lift again? How did we find that?"
In these moments of active dialogue I often witness the performers at their most playful because they are responding immediately to the observations of their ensemble with simplicity. The performers are not always aware of this playfulness as the thought is embodied in the physical action rather than spoken in conversation. This is key to the playful approach; the performer must engage in play to understand its function.
When this eventually translates to the stage there is greater sense of play and possibility in the performance because we are working with a comprehensive set of parameters that allow for alteration and evolution with each iteration.