The major difference between “The Half” and “About falling” project, is that the first research process deals with “transformation” and “presentation” of its elements (dancer body, light, music, choreographic and dramaturgic mind) in simultaneous time.
We found ourselves within the pressure to “research” and to “present” a result to the audience, in the short amount of time of ten days. Thus the questions of “how to research” and “how to present” the found material would be present in the room from day one.
Since we have the idea that each performer will dance alone on stage, researching and presenting the outcomes simultaneously, the technique of “actualization” becomes relevant.
To actualize, talking in kinetic terms, is to feel an internal/external metronome that divides each physical movement impulse infinitively. The performer thinks and feels “diversifications” of his/her embodies movement; reaching a state of existence that is continuously gapping. Gapping the body habits of organization and the recognition of the image/narration that it is producing.
The technique of gapping, presents the performer not in a single point of view, but in a multiple manner because of the unstoppable proliferation of gestures, signs, energies and postures. The performer breaks open unfolding a multiplicity of ways of being perceived.
In order to respect the multiple proliferation of sensations and signs, the performer cannot repeat. The multiplicity of perception cannot be defined or capture. The multiplicity needs to be generated but not controlled. It is an emergence.
We need to create “techniques” that generates multiplicity of signs and sensations, in order to assure the perceptive quality that things are happening spontaneously and yet, have the necessary parameters to make such experience liveable and repeatable.
The one task to work in Amsterdam and Berlin would be to find techniques/principles to produce an emergence of multiplicity (of signs and sensations) that does not capture its outcome.
In resume: to create techniques.