forms

maybe it’s a good idea not to forget ideas of form that I was fond of. bring them back from other notes, from other projects that never happened.

fake Bon Odori form – that is, different concentric circles of people where the central people know more of the choreography, and the outer circles are following and learning the dance in that moment

A-B-A form – not much to say about it

vector form – I don’t know how is that form, but it has a reference point, a direction, a sense and a magnitude

inverted recollection form – to introduce a material but inverting the chronology of its genesis. for instance, to dance a solo that was created by dancing a duet without the partner, and then later dancing the proper duet, and then maybe dancing another aspect of that material. maybe this is just an A-A’-A”… form, but it involves a specific idea of chronology.

juxtaposed form – (short) scores with very similar structures but different materials or tasks in them. example: several scores with a ‘Duet + Solo’ structure with swaps within the duet and changes with the solo, while every score involves different tasks. the scores are played out one after the other, with some sort separation gesture like ‘exiting’ the space and ‘entering’ again.

Composed Build Up Score (from the dry run) – very conventional form, a structure that starts with them lying on the floor, a very quiet section that evolves into small quiet explorations in couples, evolves into standing and building up energy in a solo, evolves into a group layered build up to a climax point when everyone screams and uses the voice for a short moment, then keeps the tension briefly and starts building down to almost a stop, when Stephie brings a TL into the space and makes a black out by breaking the lamp.

New Structure (post dry run) – a form based in repetition, but trying to organize sections with an irregular timing. 2 parallel autonomous tracks evolve each with their own asymmetrical timing, that don’t coincide or cue each other but are somehow articulated.

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