I have been wondering how my research really relates to the generic title of this studentship: ‘activating audiences’. Within making, within my practice I think a lot about audiences but how is my focus now any different?
I keep reading and I keep making and I am wondering how these two activities are really going to resonate with one another and how in particular can I write through and out of my choreographic practice in a way that feels most encompassing, most multi-dimensional? How can we find and develop ways that speak of and alongside and out of the body? How can we, as makers and spectators, stand still for long enough to understand more about it?
When I am still, when I am practicing to be still, I return to moving, to moving in the world with a renewed/refreshed engagement with movement. Is this how I now feel as an audience member – seeing work anew?
So with these thoughts swilling around in my head I immerse myself in nott dance (2011) as an audience member or participant (not this time as an artist presenting work). In just one week I spend Wednesday evening with The Guests Company (performing Score with choreography by Yuval Pick), Thursday with Miguel Pereira and friends, Saturday I scoot away to catch my first ever opera (Wagner’s Parsifal staged by the ENO) and return, suitcase in tow, back to Nottingham Station to dwell in and upon Simon Ellis’ Leaving. Then a quick dash back to Lakeside to the ‘finale’ curated by Charles Lineham and a double bill; Dog Kennel Hill Project, The Odd Honesty Code and Silvia Gribaudi’s Wait.
and the realisation dawns that I am feeling and thinking and experiencing the work I am seeing in a different way.
Of course I don’t know now how I would have experienced these works before beginning this research and realize any number of other possibilities could have set me off on a different voyage but just for the moment here is this me.
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