Embodied Metaphor


I invite dancers, performers, actors and everyone who is interested in movement and self-development to dive into improvisational artistic practice developed through years of creating choreography for myself and other people. I call this practice “body poetry”. It operates through metaphors, associations, and meanings, usually avoiding verbal definitions.
In the series of exercises we will explore following topics:
1. Approach to the states: qualities of body presence and movements
2. Improvised body characters: how to invite the guests.
3. What works here and now? Immediate personal response to the context
4. Co-presence as a starting point of interaction with a spectator
We will learn how to connect the state of mind, emotion, inner visualizations with the quality of movement and use this connection as a source to create immediate poetical response to the context. Day by day tuning interrelation between the embodied state and the movement we will create material for a performance presentation.


 photo: Ksenia Milner

Surprise Lab

How to make a performative intervention in a public space?
What are the socially appropriate ways of body behaviour in public spaces?
What can be changed in those patterns?
What changes can work in which public spaces?
The importance of time and location for the performative intervention.
How to find the right balance of deviation from the social order in a way that makes the intervention visible but not over exposed?
What tools can we use to frame the perception of the performative action?
How to frame the event? How to frame it with the text? How to frame the event with another event?

1. Работа с ожиданиями участников. Узнать. Угадать. Переосмыслить. Возможно ли, если да, то как подготовить неожиданное?
2. Перформанс один на один, игра со вниманием, импровизация, включенность, момент «сейчас»
3. Перформанс без перформера: театр сиуаций, диспозитив в действии.
4. Как работать с тем, что есть изначально, ничего не добаваляя и не придумывая? Как держать границы перформанса размытыми в такой степени, чтоб сложно было сказать, происходит он или нет и зачем это надо…



 

Self-portrait in movement


How to create a self-portrait in dance, considering dance as a body-movement metaphor?
1. Represent your own understanding of yourself in different modalities: visual and auditory
2. Use these representations as a starting point to experiment with movements and body presence
3. Find words to define and analyze points that underline personal representations.
Comparing ourselves with objects, textures, colours, sounds, animals, countries, texts, buildings and others we will find a creative force for body imagination and dance.

We will work
* with 'movement images' drawn from inner sensations, inner landscape

* with body thinking (embodiment) as movement metaphor.
* on sensibility and awareness of the body, presence, quality of movements.
* on dance not as a set of movements in time and space, but rather on a presence that produce a kind of energy by means of body


Idea, Image, Movement

During this lab, we experimented with “bringing the context”  as a general strategy to elaborate solo performances.
Bringing the context with the sound, costume, set design, other performers.
We also experimented with changing the meaning of the material by changing the context of its presentation.
We also experimented with a rational and intuitive approach to the topic: tuning into the appropriate state and improvise from the state or arrange the sequence of performative actions that create specific meaning.


photo: Evgeny Vtorov

Dance improvisation 


This workshop is devoted to relationships between inner sensation and а body movement.
Development of a character srarting from body sensations or inner visual images.
Transfer and transformation: ways of body thinking.
Improvisation as a response to a changing body-mind state
Sensitivity, concentration, and reaction - three tools of improvisation.




Body and corporeality lab

(collaboration of PoemaTheatre and visual artisits)

How the meaning, feeling, state is transported from the one medioum to another?
What happens if the dancer “dances” the painting?
What happens when the painter transfers the “dance” onto the canvas as a painting?
How the “body” of a dancer is presented in performance?
How the topic of “corporeality” reveals itself through the body-based performance, including the dance.



Gate to Unknown


Investigation of a character of a trickster.
How to use the body to create a very specific presence?
Taking into account the Japanese metaphor of the body as an empty vessel, how can we invite into that vessel different states, which are reflections on the environment, situation, people. and find the embodiment of them.
What psychological and movement tasks bring to the awkward body presence?
Is it possible to get to the state of a “blank paper” and improvise the movement out of there?



Body, Movement, and Character 
PoemaTheatre Atelier



1)Introduction to the work with the body as an empty vessel, ready to receive states and intentions. Impressionistic approach to dance as exploration and embodiment of the emotional state, the feeling, impression, a poetic embodied metaphor
·        Exercises on body awareness
·        Exploration of different states of the body, based on images
·        Weight of the body, tension, and relaxation, different speed of the movements
·        Exploration of the texture of the movements
·        Butoh poetic exercises, that work with the texture of the movement through the poetic images

2) The technique of the “key” of the body presence: a certain way to move that is connected to a certain body/mind state and therefore produces a certain type of presence.
Introduction of the technique of engaging visual image to find a certain quality of movement. No verbal explanations. The necessity of “empty space”, a special non judgement state that expands possibility of unpredictable impulses happening in the body.
3) Improvisation based on the embodied techniques
•        Improvisation as a poetic response on the body/mind state in a certain moment. The metaphor of poetic “rendering” of the information
·        Exploration of the techniques of working with the body limits
·        “Transformation” and “transfer” as one of the strategies of improvisation.


Movement, rhythm, text

How text and rhythm can contribute to the development of movement-based body character
rhythm

1.       How to make the movement improvisation rhythmically diverse
2.       Movement improvisation as a poetic response to a quality of rhythm
3.       The Character and rhythm
4.       The role of the pauses
5.       Polyphony in the body and in the group of dancers

How the movement creates the context to the word, sentence. How the text, word, sentence changes the meaning of the movement and the movement itself.


Improvisation in movement


The body as a tool of self - expression
The movement as a language of self-expression
Dance as a message
Embodiment as a point of  connection of the mind and the body
Performance as a personal statement at the certain moment of time

Sensitivity, concentration and response as essentials tools of improvisational performance A point where the everyday life feels like art and backward.




"Homo Ludens", Moscow, 2014
Topics of the game and the toy in relation to the human body and the movement and the collective.