Ir yendo

Ir yendo: Yendo es la forma de gerundio del verbo ir.

En español hacemos esta redundancia, por ejemplo al dar una indicación: ir yendo hacia la panadería y tomar la primera calle hacia la derecha.

Ir yendo.

We go in the flow.

Las cosas van yendo.

Las cosas, van.

Ir en lo que va.

Estar es lo que va.

Lo que va, va.

Va, lo que va.

Yendo: entrar en un si; En un SI consensuado. En una emancipación. Un si empático. Todos “ahí” o “alli ” Sincronizando -nos-. No tratando de, ni  haciendo de, solo siendo. Siendo parte de. Siendo “de”; Ese “de” haciendo, eso haciendo con; Eso haciéndose haciéndonos. Sucede, sucediendo. Todo va.

Yendo: Llegar allí sin esperar llegar. Sin pretensiones yendo. Siendo el que va .El barco y le viento. El músico y su instrumento. Todos y cada uno, cada uno sólito y todos con los otros y los otros con cada uno. Yendo, pero no hacia un lugar fijo. No hay lugar a donde llegar. Mas bien siendo espacio.  Abriendo                                         espacio.

Yendo: Siendo eso que se es sin mas en ese instante. Instante duradero. Instante que transcurre. Que ocurre.

 Yendo: Dejar salir y entrar un poco.

De cuerpos singulares.

De movimientos solitarios a una multiplicidad de cuerpos que se coordinan.

Se orquesta la música y el movimiento y todos llegan a ser unisono y partícula a la vez dentro de eso que se ha llamado danza.

Molécula de movimiento.

Yendo: Estar preparado para resonar en distintos niveles.

Yendo: Pura apertura.

Yendo: Estar al borde de no hacer nada porque no hay nada  que hacer (respirar).

……….

Go, going

We go in the flow
Things are going
Things, they go
Go on what’s going
Being is what goes
What goes, goes
Go, what goes

Go: enter in a yes; In a consensual SI. In an emancipation. An empathic YES, SI. All “there” or “there” (I did no find  translate and differences  for alli y ahi english )Synchronizing. Not trying, nor doing, just being; Being part of. Being “of”; That “of” doing. “Of” doing with; This is done by making us. It happens, happening.  Everything goes.

Go: Arrive there without waiting to arrive. Unpretentious going. Being the one that goes. The boat and the wind. The musician and his instrument. Each and every one, each one alone and all with the others and the others with each one. Going, but not to a fixed place. There is no place to go. Rather being spAAAAAAce. Opening               space.

Go: Being that which is just in that moment. Durable moment. Instant that passes. What happen.

Go: Let go and enter a little.

Of singular bodies.

From solitary movements to a multiplicity of bodies that coordinate. Music and movement are orchestrated and all become unison and particle at the same time within what has been called dance.

Molecule of movement.


Go: Be prepared to resonate at different levels.

Go: Pure opening

Go: Being on the verge of doing nothing because there is nothing to do (breathe)

 

By Carolina Van Eps

 

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Go memories

I am calling back the many layers of the experience we had that day together, in november, through the spectrum of words. I remember we spoke English.

BEGIN

Sonia, Stéphanie, Carolina, Lisa, Caroline, Florence and I. 7.
A mix of affections and concentrations as we’re greeting each others.
Mutin’s space, a match box, opened on one end to the street with a late afternoon winter blue light. We gather in the center of the room. The dice rolls and pauses on 5. The Go score.

One is recalling the score:
Choosing objects (could be the same or not).
Finding together a place in the space. People defining by their position the borders of the “Image Space”. Bodies are included.

With an object, one is making a proposition, calling “BEGIN”, closing his/her eyes and measuring its lifespan by calling “END”. One’s proposition asks the others to offer their attention. We are looking at what a proposition is as we are showing each other something of the space.

Being patient. So each proposition can echo in each of us.
We are building a bank of perceptions.
So it can induce a dance that could move by itself.
“RESTART” is a useful call.

The clock rings aribitrary over our 30 minutes warm-up.
I find myself returning to the center. We all end up sitting around a bunch of objects. White is their color, providing a soft contrast with the orange-yellow wooden floor. Sharing the same color adds a kind of abstraction to them. But at this point I can’t help seeing a cup, a plastic spoon and a plate too. Without any signal, our many hands and fingers start to activate, as our senses. Objects gradually loose their names and declare their physical identities. Some roll, some jump, glide, glue, rebound, others make scratchy sounds, some sensual,bumping into, hiding each others. Some are the extensions of our limbs, extensions of our desire to play, others are the sources of our impulse to move. We play both these in and out ends and it sets the mechanism of an odd timing until it suddenly crackles everwhere, a campfire, an unlyrical orchestra of cartboard, plastic, skin, bone and eye and ear too – Later one will say this moment was the PROLOGUE and everything that followed would be “ante”, pouring backward to that moment.

RESTART. All objects have disappeared, we’re looking in and out. I feel the space of our attentions sharpens.

BEGIN, a white line draws curves forward in my direction, holding just a breath. END – Is it the ghost movement that I feel, moving towards me, for I feel going backward in a narrow space ?

I sense a second End. We all release our attention one step down. Many small ajustments around sitting and looking. Now is the zone, we are all free to play, anything. But instead, we seem cautious, inhibiting. Silence becomes crystal. Is it the aftermath of the proposition? Has our concentration locked us in in tension ? Has it been set by the value of our first restart?

Next to me, a body collapses and exposes a natural environment. BEGIN. A small vessel flies over revealing the body’s topography OR a continous touch of the laying aura. END.

BEGIN

The call asks me again to “virgin” my attention as to regsiter how the propositions accumulate without thinking about it. The image of seeds emerge, something is growing. A kinetic map of beats is being printed in my body.

END

The last two sessions in Mutin comes back to mind (5 – the Begin& End score). I remember bodies’ propositions all along the walls. Bodies have now withdrawn, objects are the characters. They move us. As if they were doors to enter the space, each with its own specificities, asking consideration in order to let us in.

My vision has suddenly selected all the human faces. Pale ovales projecting spaces in volumes. I sense a BEGIN. My head is moved to follow their choreography as I stumble down the floor on a white flat circle at an arm length, magnetic, shining. My eyes are attracted forward.
I hear me saying – BEGIN. It provokes an earthkwake in my senses and desire. But the circle grows, filling and fitting more and more my visual field. Light is touching all my front body. The space is getting warmer. Then I smell plastic, all is becoming black. I forecast real touch. END
END BEGIN

Somewhere here, there is a moment I can’t grasp where suddenly the communication seemed to have reached a stable point. I am lowering my guard somehow, after the intensity of all the previous tuning of singular timings. I don’t need to target my attention anymore. It feels our communication system [when our attentions sync, in a reprise modus operandi, when we can track the difference and the repetition beteween our propositions] went from frontal to peripheral in a Go way. Or was it just me? END END BEGIN
END

RESTART
RESTART
Time has slowed down in a jungle of arms, legs and torsos. One eye, sometimes more, sparkles in the density. The horizon has lost stability. Background goes front, ever suprising, with generous invitations to follow surfaces of textiles, tubes of light, bites of flesh, chains of breaths, upward, forward and down. Limbs have their own lives, here and there. My attention curves, everything is touch. No outside. I am taking part in a civil desobedience full of care. This is a long humid exhalation. Jonas makes the whale, as the whale Jonas. Nothing breaks but rolls. Another GO.

A concerto.

REPLACE

Switches of figures, like reorganizing the furniture of a room and still recognizing it. The background remains.

BEGIN

We are all looking in the same direction from one end. One many eyes (a déjà-vu : same pattern occured the last 2 sessions !). I notice the objects are spread all over. Space beholds. The carbon little creature walks in. Agile across the white proofs of evidence. I start to remember each. She is now the black cursor of my memory, playing back the whole run. Hands reach out from my eyes to move with her in time. She rolls, jumps, rebounds and bumps and crackles too. Reverse me. GO. Feeling of a revolution. Back to the Beginning. Other incursions. A little theater of light at the opposite end of the room. Or a box who becomes the princess with the red robe supported by caring figures. Many disappearences. END.

END.

Last call:
I wish this text was an invitation for others (you) to enter, filling gaps, resurecting memories, rotating into other points of view, twisting the timeline and language. So it can be more than me. A memories’ conversation? Can a memory be collective ?

 

Report Begin-End-Zone

(notes d’après les pratiques de septembre et octobre 2017, le numéro 6 tiré 2x de suite)

Score (6):
Chacun vaque à ce dont il et elle a besoin dans l’espace (=la zone).
Dès que quelqu’un perçoit pour lui-même une organisation ou le désir de communiquer quelque chose, il signale à voix haute BEGIN – “J’ai quelque chose à partager”. Les autres lui offrent leur attention en suspendant leur activité. La personne mesure son propre END et chacun retourne à son occupation (la zone).

Les calls – Begin/End –  sont tiraillés entre origine organique et décision artificielle. Trop tôt ou trop tard. “Quand je dis Begin, quelque chose a déjà changé”.

Pourquoi dire tout haut ce qu’on peut garder tout bas? Pourquoi faire l’effort d’un call? Tuning Score vs Free Impro

Au plus les règles/consignes sont respectées, au plus étranges, imprévisibles sont les conséquences.

Subitement, avec un Begin l’espace de la zone s’oriente, enceinte d’un centre de gravité, d’attention.

Entendre un Begin-End et mon attention me sculpte, m’orientant visuellement vers la proposition: l’occasion d’observer les décisions automatiques de mon corps lorsqu’il est guidé par ses sens.

Je dis “Begin”. A quoi est-ce que je donne de la valeur? qu’est-ce que je révèle/souligne/extrais de l’espace? Qu’est-ce que le End va cadrer?

Begin, End,… = report

La zone: propice à l’unisson sous-entendu Tutti

Begin-End: propice au solo, aux multiples formes de duos, trios, etc.

Et tous les Begin-Ends non-dits pour des mesures collectives plus grandes: les contaminations de Begin d’une proposition à l’autre, les mesures des chapitres, etc.

Suspense: est-ce que le Tuning Score (la composition collective/communication avec tous les autrescalls) se révèlera? quand et comment pointe t-il le bout de son nez? quelle est sa nature?

Tendance à taire un call parce que considéré comme évident par tout le monde. Puis-je développer une habileté à exprimer un call aussi simultanément que sa sensation est ressentie? Avant qu’il ne devienne affaire mentale?

Ce score entraîne la plupart du temps une occupation constante de l’espace, la zone. Antidote? Comment clarifier l’espace, l’orienter ? Réponse expérimentée: Begin-End pour des activités de watching.

Tentative de déf:

Les calls comme les actions physiques sont les outils explicites jouant sur la composition et la communication de l’attention et de l’imagination pour faire sens individuellement et collectivement – vers une expérience satisfaisante.

 

Session sept: Begin-End me semblaient appelé par chacun pour trouver sa place et son activité dans l’espace, composition collective et communication en découlaient

un monstre informe roulant sur lui-même, rebondissant lentement d’un mur à l’autre

Session oct: Begin-End me semblaient appelé avec l’intention de composer d’emblée collectivement

un scintillement d’échos d’artifices

Feedback System – April 30th

Un atelier de danse ouvert à tous

 

Jouer ensemble,
alterner entre véhiculer une danse et l’observer,
découvrir les stratégies des autres, les essayer,
se témoigner les uns les autres de ce que l’on perçoit,
voir ce qu’on donne à voir,

peut-être mettre en phase ce que j’aime faire et ce que j’aime voir
et interroger la nature de l’espace collectif

sommes-nous les glaçons dans un verre de whisky
sommes-nous un G8 sans traducteur
sommes-nous le radeau de la méduse




A dance workshop open to all
 
Playing together,
alternating between conveying and watching a dance,
reading other players’ strategies, trying them out,
showing each other what we perceive,
seeing what we make visible,

maybe putting in phase what I like to do and what I like to see
and questioning the nature of the collective space

are we bugs by the lamp
are we mute football fans
are we usual suspects
 
 
 
INFO
 
Saturday, 30 April 2016, 15h-18h (space opens at 2.30pm)
Studio Hybrid – Parcours: 111, rue de L’intendant – 1080 Bruxelles 
lignes 2, 6, 51 arrêt Ribaucourt

Workshop hold by / Atelier proposé par Caroline Boillet & Baptiste Andrien
 
15 euros / session
Français/ English
Réservation / Registration: tuningspace@hotmail.com 

// SHIFT – the physicality of attention // by Caroline B & Baptiste A

www.ensembletheaters.net

This session will keep exploring the physicality of our attention and how it composes our experience in space. By investigating basic patterns of vision and spatial orientation, playing between automatic and voluntary behaviors, measuring what a change of attention is, we will unfold our imagination about dance and feed it back to each others.

Cette atelier sera l’occasion d’explorer la physicalité de notre attention et la façon dont elle compose notre expérience de l’espace. En visitant des coordinations élémentaires intégrant vision et orientation spatiale, en jouant avec nos comportements automatiques et volontaires, en mesurant pour nous-mêmes ce qu’est un changement d’attention, nous déplieront notre imagination de la danse et la communiquerons en retour aux autres.

// ENDS : FINS // by Caroline B & Baptiste A

P1010393 (1)

“Ends” – a dance workshop open to all

This session will keep exploring the question of the attention and how it composes our experience in space. What do we look at ? When does our attention end ? What are the consequences to our physicality and appetite for movement?
By playing with the limits of our vision, investigating the extremities of the muscular system, framing what a single action is, we will unfold our imagination about dance and feed it back to each others.

Tuning Space is a space dedicated to dance (in a large meaning), its observation and the composition that arises from the dialogue between dancing and looking. This space is held by a group of dancers and visual artists that share a common interest in questioning, developing, integrating and replaying Lisa Nelson’s Tuning Score in their artistic and teaching practices.
Once a month, the Studio Hybrid-Parcours (Brussels) hosts a proposition from the group.

“Fins” – un atelier de danse ouvert à tous

Cette session continuera d’explorer l’attention et la façon dont elle compose notre expérience de l’espace. Que regardons-nous ? Quand notre attention finit-elle ? Quelles en sont les conséquences sur la physicalité et notre appétit pour le mouvement ?
En jouant avec les limites de notre vision, investissant les extrémités du système musculaire, mesurant ce qu’est une action unique, nous déplierons notre imagination de la danse et la communiquerons en retour aux autres.

19 dec 2015 – workshop with Eva Maes