Standing Still...Looking At You
Claid, Emilyn (2002) Standing Still...Looking At You. Research in Dance Education, 3 (1). pp. 7-19. ISSN 1464-7893Full text not available from this repository.
Abstract / Summary
This article emerged out of many years of teaching choreographic performance practice at MA level in Higher Education in the UK. It proposes a model for interweaving professional practice and academic research, whereby written theories and studio-based practices can become creative forces informing each other in praxis. Conventional methodologies for teaching choreography, in particular at MA level, are interrogated and redressed through a focus on the act of ‘standing still’. The article seeks to demonstrate possibilities for writing the internal processes and images embodied in the act of stillness. It explores approaches to interconnecting the roles of teacher and student, and choreographer and performer, through an awareness of ‘performing stillness’ as a devising tool. The dancer’s attention to the contradictions of looking inwards and outwards while standing still is considered to be an essential key in the practice of presence, evoking an energy that unlocks the dynamic engagement between dancing and watching. The article raises questions of choreography as devised process, making connections and parallels with contemporary philosophical writings that promote fragmentation, horizontality, multiplicity and the play of presence and absence (e.g. Derridean ‘différance’ and Deleuzean ‘rhizomatics’).
|Additional Information:||An earlier version of this article was presented at the ‘Choreography and Corporealities’ working group at the FIRT conference (‘Federation Internationale de Recherche Théâtrale’, Sydney, 2001). Drawing on the writing of Elaine Scarry, this version tentatively explored the relationship between pain, silence and creativity. Claid was testing the idea that dancers listen and attend internally to the sensations and levels of pain in the body when moving. The presentation suggested that a silent investment in somatic pain is integrally linked to the external expression of movement language. Pain becomes a measurement, an internal tool for the dancer’s articulation and memory of movement languages.|
|Depositing User:||Emilyn Claid|
|Date Deposited:||11 Aug 2014 13:26|
|Last Modified:||11 Aug 2014 13:26|
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