Theory and Practice
Improvisation
Practice
Choreography
Direction
Collaborators
Image Gallery
Eventually, I encounter something I haven't done before, some little sound or twist of a movement that seems unfamiliar. I put my focus into its details. I enter into its unknown. This gesture or squeak begins to lead me. We're doing an improvisational dance together; the action offers a quality, my mind joins the quality and adds a little bit to it; the action answers back. I'm in a question and answer session with my self, but a part of my self that I must greet without criticism. The action says, "Yes, and..." I say, "Yes, and..." back. Together we are building a phrase, a movement or song, or voice.
There's an old saying, "Don't pull on the reins until the horse gets out of the barn." I cannot go for a ride with this new bit of material unless I let go of control. I have to let this action take me as far as I can. Another saying, "You have two hands: one hand is the writer; the other hand is the editor. You don't write with both hands."
My creative process is letting go. Opening parts of myself up in order to find more new parts. In order to do this, I must be silly, stupid, ridiculous, useless, unimportant, not profitable. I must step beyond my own judgment and let the horse out of the barn. I must play. I believe this is the first step in creativity: play.
A group of people arrives to study with me. Actors training, dancers training. Professionals who seek training. I ask them why they are here and what they expect to get out of the class. To speak better. To move better. To learn about their body. Funny comedy monologues. To have fun. To perform with confidence. To be less afraid to speak up. To gain self-confidence and learn how to use space.
They have all come to improve something.
I ask them to stand up and walk around in the room. I am watching, looking and listening, slowly uncovering what restricts these people. Some are here to play, some are here to learn to be freer, but they all have some personal challenge. They almost all have a battle with themselves. I am learning what their difficulties are. Many walk around looking at the floor, focused on their own thoughts, not giving the others much attention. Others' eyes are darting all over the room, looking mostly at me and at other people; they maybe worried they are not walking correctly; concerned they are missing something, maybe even doing something wrong. Others look at the floor, walls, ceiling, curtains, and clothes. A few seem relaxed, or they are acting like they are. As we work together, it becomes clearer and clearer where each individual holds their blocks.
Group dynamics and individual personalities are exposed. Some find it impossible to be aware of their selves and be aware of others. Others get so taken in by their own work they get angry when they have to give attention to somebody else. Some are so wrapped up in their own judgment that they cannot see or hear. Some cannot bear to pay attention to their own selves, and only watch others. Some will not change no matter what. Others resist letting go of control. Almost all people are restricted by their own judgments of what they are good or bad at. Whether they are management consultants or dancers. With luck, they never find these judgments restricting, avoid situations where their judgment might harm them, and proceed on in their lives. But then conflicts arise: one person's judgment bumps into another's. Negotiations must be made. Conflict resolution is necessary.
Communication is absolutely necessary. Without it, the improvisation is impaired. My job is to guide them. All we are doing is increasing their awareness. Simply making them aware of where their judgments block the development of new ideas...
