self narrative
What are the artistic processes of performance & how to articulate how I witness the uncapturable in performance practice are questions that guide my exploration. I meditate on them from the vantage point of my own self-narrative, as a performance practitioner whose artistry, in many ways, relies on the willingness of others to disclose, to open themselves.
I left my home and theatre practices turning twenty to immerse myself in another tradition. After an extensive stay within the Grotowski and Grotowski diaspora I returned home to dwell in the perceived place of my creative center. The work inexplicably led to the vocation of education & specifically playing in the territory education of the imagination.
One of the frames through which I construct my research is a focus on the formal in practice: attention to the shapes of narratives, the physical intimacy that changes the time and space of an encounter, the fullness of the movements of touch and density (dancingness & singingness) and on the ways that formal experimentation can open up spaces beyond and beneath narratives that can sound so familiar - those moments of energetic connection that happen through the practice to discover traces of attention and to attain a sensibility towards the aura of vibration.
In time I learned, that my research aim, in all the meditation sequences mistakenly labelled teaching, was not to find essential truths about identity or establish a living, creative consciousness but to explore the limits of entwined ideological, aesthetic and cultural expression and create tools that enable recognition and hence communication. In a deeply practical way the path was to experience the imaginative world we all inhabit and to make that imaginative life experiential.
:: note :: ... taking myself very seriously & reading The Loser by Thomas Bernhard ... "In theory he became one of the greatest piano virtuosos in the world, one of the most famous artists of all time (even if not as famous as Glenn Gould!), in practice he accomplished nothing at the piano ...
I left my home and theatre practices turning twenty to immerse myself in another tradition. After an extensive stay within the Grotowski and Grotowski diaspora I returned home to dwell in the perceived place of my creative center. The work inexplicably led to the vocation of education & specifically playing in the territory education of the imagination.
One of the frames through which I construct my research is a focus on the formal in practice: attention to the shapes of narratives, the physical intimacy that changes the time and space of an encounter, the fullness of the movements of touch and density (dancingness & singingness) and on the ways that formal experimentation can open up spaces beyond and beneath narratives that can sound so familiar - those moments of energetic connection that happen through the practice to discover traces of attention and to attain a sensibility towards the aura of vibration.
In time I learned, that my research aim, in all the meditation sequences mistakenly labelled teaching, was not to find essential truths about identity or establish a living, creative consciousness but to explore the limits of entwined ideological, aesthetic and cultural expression and create tools that enable recognition and hence communication. In a deeply practical way the path was to experience the imaginative world we all inhabit and to make that imaginative life experiential.
:: note :: ... taking myself very seriously & reading The Loser by Thomas Bernhard ... "In theory he became one of the greatest piano virtuosos in the world, one of the most famous artists of all time (even if not as famous as Glenn Gould!), in practice he accomplished nothing at the piano ...
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