"Dimensional Thinking" "No" (LizB)

As I read “Dimensional Thinking” I considered the ways in which I could apply terminology and concepts such as scaling and mapping to my choreographic work. Scaling, as the author notes, requires risk. It is appropriate then, that my work deals with questions of risk and what it means to “toe the line.” I have been playing with the idea of range and moving from big, voracious, energy to delicate, precise energy. One of the ideas this article gave me was to try scaling down my big energy movement and scaling up my precise movement to see what new information might emerge.

I realized that in many ways the act of choreography is inherently an act of mapping. I develop movement suited to my body and my dimensions and then I map it on to the bodies of my dancers. Then of course, there is a need to organize the space so the dancers have a “map” to follow on their journey through the material.

In “No-the Art of Space Arrangement” it was interesting to see how one particular culture had solved the issue of organizing theatrical space. I found the most interesting use of space to be the bridge, because it appeared to represent a liminal (in-between) space in which the character occupying the space was neither here nor there, but coming and going. Another important aspect of the No use of space was how the music is able to designate a sacred/ritual space without the use of other physical props. Thus, it is important to consider that there are multiple layers to mapping, and the soundscape may in fact create its own topography.

When the author mentioned the use of distance between actors to create an atmosphere of rising tension I considered how that might be applicable to my own choreography. In one section I have the dancers face off, but they then come back together fairly quickly. I may play with having them stay apart longer in my next rehearsal. Finally, the author’s conclusion grabbed my attention with his suggestion that the architecture of the space can become symbolic of the body. Thus, for instance, what is the “heart” of the action and where is it placed on stage? What is peripheral—that is, the fingers and toes? Is there a liminal or journeying space? What is it evocative of—the digestive system, a passage through the body, the circulatory system, with its intersecting highways of veins and arteries? These are some of the ideas I take with me as I head back into the studio.