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Accumulated Response in Live Improvised Dance Performance

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Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1-1-2001 Accumulated response in live improvised dance performance Joanna T. Pollitt Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Dance Commons Recommended Citation Pollitt, J. T. (2001). Accumulated response in live improvised dance performance. https://ro.ecu.edu.au/ theses/1038 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1038 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. ACCUMULATED RESPONSE IN LIVE IMPROVISED DANCE PERFORMANCE By Joanna Tollemache Pollitt, BA. A Thesis Submitted in Partial Fulfilment of the Requirements for the Award of Master of Arts (Creative Arts) at the Faculty of the Western Australian Academy of Performing Arts, Edith Cowan University. Date of submission: December 12, 2001 USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. ABSTRACT The response project and accompanying thesis aim to affinn the role of the dancer as an authority in revealing patterns and traces of accumulated lived experience, knowledge and ideas through the practice and performance of dance improvisation. The dancing body is investigated as a dynamical and complex system of research that is embedded in a process of continual response to the present. These bodily inscriptions and the process of active response fonn the seminal grounds for the physical and energetic exchange of improvised dance in perfonnance. Dance improvisation is inextricably linked with the dancer and as such the practitioner bears within their work as many contradictions as has any individual dance artist. An examination of the lineage of dance improvisation that has its roots in postmodern dance reveals a paradoxical practice of maintaining a continuous present while drawing on an accumulative past. Simultaneously in process and in performance the dancer is in a permanent state of response - to the process itself, to the environment and to humanness. A highly rigorous and complex creative practice, improvisation in contemporary dance is grounded in the embodied knowledge of the dancer. What then is the value of a dancer's accumulated experience in a culture that embraces and promotes new technology-based work? It can be said that no dance perfonnance whether choreographed or improvised can ever guarantee sameness because it occurs in a state of 'aliveness'. Improvisation most closely alludes to this 'aliveness' as it is intrinsically unstable and unrepeatable. With its documentation stored in the body, improvisation leaves even less hard copy historical evidence than the already ephemeral nature of choreographed dance work. Dance improvisation, like all dance is not a fixed medium and I assert that it can never be exactly reproduced by film, video, computer capture, notation or even memory. These recording/recalling mechanisms capture parts of the dance but they all taint the experience with their own subjectivity and limitations. I aim to support that this physical documentation of improvisation, though not a reliable, tangible or testable record of the event, is real and can be revealed in the improvising dancer. ABSTRACT The response project and accompanying thesis aim to affirm the role of the dancer as an authority in revealing patterns and traces of accumulated lived experience, knowledge and ideas through the practice and performance of dance improvisation. The dancing body is investigated as a dynamical and complex system of research that is embedded in a process of continual response to the present. These bodily inscriptions and the process of active response form the seminal grounds for the physical and energetic exchange of improvised dance in performance. Dance improvisation is inextricably linked with the dancer and as such the practitioner bears within their work as many contradictions as has any individual dance artist. An examination of the lineage of dance improvisation that has its roots in postmodern dance reveals a paradoxical practice of maintaining a continuous present while drawing on an accumulative past. Simultaneously in process and in performance the dancer is in a permanent state of response - to the process itself, to the environment and to humanness. A highly rigorous and complex creative practice, improvisation in contemporary dance is grounded in the embodied knowledge of the dancer. What then is the value ofa dancer's accumulated experience in a culture that embraces and promotes new technology-based work? It can be said that no dance performance whether choreographed or improvised can ever guarantee sameness because it occurs in a state of 'aliveness'. Improvisation most closely alludes to this 'aliveness' as it is intrinsically unstable and unrepeatable. With its documentation stored in the body, improvisation leaves even less hard copy historical evidence than the already ephemeral nature of choreographed dance work Dance improvisation, like all dance is not a fixed medium and I assert that it can never be exactly reproduced by film, video, computer capture, notation or even memory. These recording/recalling mechanisms capture parts of the dance but they all taint the experience with their own subjectivity and limitations. I aim to support that this physical documentation of improvisation, though not a reliable, tangible or testable record of the event, is real and can be revealed in the improvising dancer. The work aims to relocate and present dance improvisation as personal, articulate and relevant contemporary arts practice that can offer a precise and non-linear insight into the performer. In response to the glut of video-based, multi-media and new technology inspired work, dance improvisation brings the dance back to the dancer and predicts a trend of interest back to the live body. Humans are complex and it is this complexity that I hope to reveal through dance improvisation, in the choices, potential and responses of the performers. COPYRIGHT AND ACCESS DECLARATION: I certify that this thesis does not, to the best ofmy knowledge and belie/ (i) incorporate without acknowledgement any material previously submittedfor a degree or a diploma in any institution of higher education; (ii) contain any material previously published or written by another person except where due reference is made in the text; or (iii) contains any defamatory material. Signed: L: Date: .... .ll ·. J. :J!. ?.. ............ ACKNOWLEDGMENTS I wish to express my sincere thanks to my Supervisor, Dr Maggi Phillips, for her detailed and insighiful assistance in the preparation of this thesis. Special thanks also to my husband, Franc Rasche/la, for his ongoing support and valuable assistance in the preparation of the video as well as to Jennifer Monson, Amanda Jones, Lindon Thompson, Nanette Hassall, Reyes de Lara, Cath Stewart and Rod & Dee Pollitt. I would especially like to thank all of the dancers and musicians, who participated in the response project, particularly, Bee Reid, Katie Moore, Angie Diaz & Phoebe Robinson. CONTENTS Title ---------------------------i Abstract ii Copyright and Access Declaration iv Acknowledgments.______________________ v Contents vi INTRODUCTION__________________ l Photo: Jo Pollitt in prince (Franc Raschella) 5 PART ONE Lineage of Practice.________________ 6 CHAPTER 1: Lineage of Practice________________ 7 Becoming - and becoming undone 7 Dance improvisation; unbalancing the border between modern and postmodern dance practice. _________________8 CHAPTER 2: Perceptions, Hierarchies, & Structures 17 Choreography and 'instant composition' 20 Performing structures 24 CHAPTER 3: In Process: Improvisation As A Performance Practice 30 Philosophies of the present in process 30 "Front keeps changing" (Allen, p26) 33 Structuring process- a displaced democracy 38 CHAPTER 4: www.'live'dance: Dancing Bodies and Technology 45 The culture of the 'new': again 46 Lived experience and technology 53 CONCLUSION 57 PART TWO The response Project; Bodies of Research ________60 Photo: response project one (Franc Raschella) ------~70 PROJECT ONE: Developing Process ______________71 Photo: response project two (Jo Pollitt) 78 PROJECT TWO: Form and practice 79 Encompassing Energy 80 Finding Form; 6 5 4 3 2 1 82 Breaking the Score 83 Photo: response project three (Franc Rasche/la) 86 PROJECT THREE: Performance Practice 87 Settling the Ensemble 88 Accumulated/Stored/Saturated
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