a performance dialogue

Friday, November 23, 2007

(from old blog) for Carol (2) Feb 2007

One of the highlights of the last workshop was the way you took us into the geometry of the hexagon/library through our bodies. What struck me was how similar your way of taking the letters as a way of mapping movement is very similar to what I might try to do at the very early stages of a composition. I’m particularly keen to go back to that moment of 6 people in a room moving in their self-contained hexagons and seeing how we could develop that and similar ideas. The ‘contrapuntal’ aspect was something I’d particularly like to explore further. Like you, I’d like to acquire more bodies/players to work with so we can have that sense of multiplicity.


Dorothy said...

response from Carol

The ‘contrapuntal’ potential of this space might be opened out if we think of the honeycomb design and the placing of the 6 solos as individual voices so that the eye has alot of visual density and attractor points. Shifting coordinates in this way might be developed through other models of form finding. I was thinking also of the dropped letters of experimental writing, like in Burroughs. Dropping coordinates might for instance create some interesting possibilities for changes in weight and relations to gravity. Gravity as a score.
carolbrown - February 15, 2007 at 5:21 pm e

Carol said...

With Rose we are exploring a new mapping, imagining that there are two parallel hexagon planes or plates, one on the floor below us and the other above us at the limit of fingertips in the air. Both hexagonal plates are defined by six points which narrow to a single point behind the navel. Rose's task is to explore peripheral extension of limbs to the six points on both planes and to let these lines of flight fold into the core. I think of the form as a bit like a hexagonally shaped egg timer. To make this mapping more interesting we are spiralling the form, adding twists.

Dorothy said...

Interesting - the number 9 for me was a space I was experimenting with in different ways, one of which was that it was a kind of mirror, where the previous phrase or part of it was heard rapidly in retrogade inversion (backwards, with the intervals inverted). I thought of that possibly being brought about electronically, but often I have that sort of idea about using electronics, then simulate it in the score, dispensing with the need for the electronics.

But now you've written about this hour-glass with the single point of the navel and the idea of spirlling and twisting, this concept is feeding in to my concept of the '9' space.