Choreographic Imagination Phoebe Robinson Submitted in partial fulfilment of the requirements of the degree of Master of Choreography by Research Faculty of VCA and MCM The University of Melbourne Produced on archival quality paper November 2014 2 ABSTRACT This research explores the role of the imagination in choreographic practice. As part of this research I have choreographed and performed a new solo dance work, Creature of Habit, and collaborated with artists on the lighting, sound, animation, and costume design to provide a performance environment. The research has looked at how the imagination contributes to the creation, performance and memorisation of movement in ‘set’ choreography. Drawing from established discourses between dance and somatic practices, anatomy, visual perception and the moving image, this research explores the imagination as a phenomenon that is anchored in the body’s sensations and perceptions. The notion of psychophysical embodiment, as introduced by Mabel Ellsworth Todd early in the twentieth century, has had a broad influence on both dance and somatic practice. The use of imagery in dance making is frequently derived from Todd’s somatic practice. The aim of this project has been to activate these ideas in my own practice, and to articulate how this affects the quality of my movement and presence in dance creation and performance. This practice-led research project has revolved around two improvisational movement scores, each derived from somatic principles, which have facilitated the creation, memorisation and performance of the choreography in Creature of Habit. The first of these scores I have named the substance score, and the second score is called matching. The way that these scores have informed this research is presented over three chapters that each refer to a different phase of the creative process. In the dissertation I articulate how I have related to the choreography in each stage of its development. In the research, I have questioned my assumptions about my own process. What is the choreographic process? What is the choreography? And how do I orient myself in relation to both? 3 4 ACKNOWLEDGEMENTS I would like to thank my supervisors, Helen Herbertson and Siobhan Murphy, for their endless patience, guidance and inspiring conversations. I would also like to thank Jude Walton for her encouragement and generosity as a friend and mentor. To my collaborators; Jennifer Hector, Alesh Macak, Kym Dillon, and Maximillian, sincere thanks for dedicating so much of your time and talent to this project, and for being such a lovely team to work with. I would also like to thank the choreographers who feature in this thesis as having had a direct influence on my own work, Sandra Parker, Rosalind Crisp and Joanna Pollitt. Finally, I would like to thank my friends and family who have kept asking me, ‘is it finished yet?’, and extra special thanks to Mathew Rolfe, who cheered me over the line. 5 6 DECLARATION This is to certify that: This thesis comprises only my original work towards the Master of Choreography except where indicated. Due acknowledgement has been made in the text to all other material used. The thesis is less than 22 000 words in length, exclusive of tables, maps, bibliographies and appendices. Signed: Date: 7 TABLE OF CONTENTS INTRODUCTION........................................................................................... 10 The Creative Process.......................................................................................... 11 The Nature of the Research ............................................................................... 12 CHAPTER SUMMARY................................................................................... 15 PREAMBLE: PARADIGMS OF THE IMAGINATION........................................ 17 Ideokinetic Imagination ..................................................................................... 17 Somatics and Dance........................................................................................... 18 The Wake of Imagination................................................................................... 20 CHAPTER ONE: PRE-CHOREOGRAPHIC IMAGINING.................................... 30 Introduction ....................................................................................................... 30 Imagery .............................................................................................................. 31 Somatic Imagery ................................................................................................ 33 Visuality.............................................................................................................. 34 Soma .................................................................................................................. 35 Anatomical Imagery ........................................................................................... 36 A Camera’s Eye View.......................................................................................... 39 PART TWO: Pre-choreographic Scores............................................................... 40 The Substance Score .......................................................................................... 40 Matching............................................................................................................ 41 Conclusion.......................................................................................................... 44 CHAPTER TWO: A FILMIC ANALOGY ........................................................... 48 Introduction ....................................................................................................... 48 Precis to the Filmic Analogy ............................................................................... 48 ‘A’ Movement .................................................................................................... 50 Jump Cuts........................................................................................................... 51 Cross Fades ........................................................................................................ 51 Reverse and Repeat ........................................................................................... 52 Imaginary Editing ............................................................................................... 52 Embodying Discontinuity ................................................................................... 53 Joanna Pollitt: One move at a time.................................................................... 55 Recordings in the Body ...................................................................................... 56 8 Conclusion.......................................................................................................... 62 CHAPTER THREE: CREATURE OF HABIT....................................................... 66 Meaning and Movement ................................................................................... 66 One’s Own Movement....................................................................................... 67 Techniques of the Body ..................................................................................... 69 Transcriptions .................................................................................................... 71 Natural Movement............................................................................................. 73 Body Schema and Body Image........................................................................... 75 Image: Phoebe Robinson, Creature of Habit. Photography: Rachel Roberts..... 76 Proprioception ................................................................................................... 77 Proprioceptive Blur ............................................................................................ 78 Post-choreography............................................................................................. 79 Conclusion.......................................................................................................... 79 CONCLUSION .............................................................................................. 81 APPENDIX.................................................................................................... 86 DVD Documentation of Live Performance Enclosed.......................................... 86 9 INTRODUCTION This practice-led research project has revolved around two movement scores that were each based on principles derived from somatic practices. These scores facilitated the creation, performance, and memorisation of the choreography in Creature of Habit.1 The first of these scores I have named the substance score, and the second is called matching. By the term ‘score’, I mean a loose instruction that determines how movement is produced. This is opposed to the traditional notion of a score, which is borrowed from music and refers to the notation of previously codified notes or movements. The idea for the substance score came to me while improvising, but it is also indirectly informed by my personal understanding of the principle of Ideokinesis, especially as this principle is used within the Skinner Releasing Technique.2 The second score, matching, is drawn from another somatic principle that was described in an article by phenomenologist Elizabeth Behnke (1995), also titled ‘Matching’. In this research, I have adapted Behnke’s description of Matching