missing loops and null hoops
it strikes me that there are some missing and misnamed loop patterns in marks clarification. mark also comments that:
the looped structures created choreographic results that just simply would not come naturally out of a choreographer’s body — and that is precisely what interests ussurely that’s the same function as chance procedures e.g. merce cunningham. that thought led me to wonder about the ‘challenges’ of learning the ‘looped’ material. is troika working with any ex cunningham company dancers? how would a current cunningham company dancer deal with learning the looped material? i’d suggest that as the cunningham company dancers a more familiar working with ‘disrupted / forced / imposed’ movement they would find the task easier. however mark notes they are looking for an emotional response to the material/process from the dancers which cunningham dancers may not be so familiar with. mark also suggests that « the “impossible move” is a form of violence perpetrated upon the natural, organic movement of the body ». which a) seems a little ‘humans vs technology’ and b) reveals the habitual movement patterns troika have (until now) settled into. for the dancer, a ‘new’ choreographic structure, or technique required for producing different movement flows can seem unnatural. but, that is until they master the form(s), and it feels like a ‘natural’ mode again. with regards to dancers dealing loop structures that shift and change over time, also consider the work of anne teresa de keersmaeker e.g. fase. i’ve also posted my breakdown / interpretation of the loop structures mark is using. blog comments powered by Disqus
