The practice begins with the creation of personal material by freely improvising physical movements and vocal sounds until a clear physical and emotional association is established. A series of associations are then created. These associations are then individually refined to become as exact and repeatable as any structured movement. Once the association is refined it is called a Glyph. An aspect of Glyphs are they keep their improvised quality being immediate and may seem to the spectator to be created on the spot, but in fact are highly scored.
Upon creating a series of Glyphs, they are then put together in a larger sequence called a Petroglyph. The Petroglyph is a montage of physical and vocal scores (Glyphs) combined in such a way as to create an action. Shaping the Petroglyphs through pacing, duration, tempo and dynamics allows dramatic arcs to be rendered. The Petroglyphs are then aligned and rendered again into a piece with a rhythmic coherence. For the You is made up of four Petroglyphs.
The sequence of Glyphs & Petroglyphs, artifacts & environment help cultivate meaning. Ultimately the experience is completely objective. Like viewers of surrealist paintings meaning is created in disparate images presented by the artist.
The experience is, in part, fed by what is not given to the spectator. An important aspect of the work is the presence of the absence. Other characters, relationships, and outside forces are implied but never shown. A creature in a horror film is never shown but is made real by the imagination of the movie audience. The way I move or use voice or place the un-shown person/object in space with my eyes all create the presence of something that is actually absent. The beauty is we (performer & spectator) imagine something different: an objective experience, collectively. During the piece, the spectator’s imaginations fill in the blanks carefully crafted by the artist to create their own, individual stories. The spectator is a creative collaborator.
Text is used as a foothold throughout the piece as moments the audience can relax and receive apparent meaning so they are not relentlessly forced to create.
Humans naturally want to make sense of the world around them, to create reasons for actions and justify moments of seeming randomness. Association drama allows the spectator to create and removes the ego from the performer by displacing the act of telling the audience exactly how it should be. - Kristen
A path through the drama is an immersion and connection. What's it about? Where is it? These are not exactly the right questions. An entering deeply into relationship is a way of following. Surrounded by actions, associations all around touch and shape the territory. That's where you watch, isn't it? That's how and where you wonder? Everything you've seen you've seen from within the nature of the drama.
At every instance you expect what is hidden everywhere.
You know it because you are the story.
:: Note :: ... this document was created from notes during the working process of For the You ... it was included on the back of the program ...