Probably the easiest way to understand my creative process is to see choreography as research. There is generally a first exploratory phase in which things are very messy and open ended. I generally identify questions or states of being that interest me about a particular project. For this project, the question has always been what is the movement world? How do I respond? How can I respond more fully, using more of my body? What are the resulting emotional states? How can I fully integrate myself into the system so as to provide a real feedback loop instead of simply generating sound? Starting from the first improv but more noticeably yesterday, I have developed a movement palette that for me fits the sound world and over all aesthetic goals of the project. Once I have identified material that interests me (for example, see the points below), I start thinking about how to structure these ideas into a score, thinking about the development and resolution of ideas and also the impulses that allow me to transition from one section to another. I like to be very specific about energy, textures, and emotional landscapes but leave my actual physical response unscripted so the work remains highly experiential.
For our next session, I will prepare 2-3 different scores involving the organization of some of the movement ideas I discovered in the last session. In terms of an overall structuring principle I like the idea of the movement/visual aesthetic coming undone/loosening up over time. However I think there are multiple ways to do this--mostly I'm considering fast/slow movement, big/large, movement across the screen versus largely stationary. I think the best way to proceed would be for us both to come up with 2-3 10 minute scores which we can mix/match. Once we start working with intentional choices instead of free improvisation, I think moments when the movement/sound score overlap will become more clear and then we can script that into both of our parts.
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