The work explored the artistic practice and multiple output potentiality of a system of non-representational physical communication in between performers. Using dependency as a motor for development, every stimulus was perceived and processed in real time.

 

The communication - for this project - had three starting points. The first one was purely physical. States and emotions were generated by the exchange of movement. The second one started from the abstraction of one specific emotion. The physical interpretation of the emotion was of course subjective and very wide but was narrowed down by setting clear rules and agreements. The third one started from the physical interpretation of different abstract idea’s such as  - for example - territory, rebellion, justice, injustice...

 

The intention of the relation, and thus the pyhsical output in between the performers aggrevated or decreased depending on the starting point of communication and the interpretation of each performer. For example – by applying territory, narrowing it down to the attack and defense of space, created a different intention in the physical output than applying - for example - the abstraction of joy.

 

Through practise and dialogue with the performers I create modes or patterns of movement and intention than could be named and recognized during the working process. These modes were than used to create scores.

 

Real-time choreography is fragile and unpredictable. One day the score had an uncanny character, the other day there was agreement and harmony. It’s more than an execution of an arranged series of movements in time and space. It’s a constant negotiation without ever really knowing where the physical output of the other performer might bring you. For the project score#21 - Method of Elimination we discovered that not the movement  on itself was the focus but rather the anticipation and expectation of the movement to come or the ‘silence’ in between the articulation.