Extension in a soundscape?

Ok. So. Everything resonates. Everything moves, it vibrates. I respond to this. My body also has it own way of moving, its own rhythm which is directly affected by the world around me, and the world around me reacts to this. Ideas of impulse and the passing of energy. Somebody said (Probably dead) acting is reacting and the most important people on stage are the other people you are playing with. You offer; the more you offer the more you receive. We interact. None of this is new but perhaps something clicked?

Characters also have there own rhythm, a character can lead with one part of the body and that will create a way of speaking, laughing, moving. What does my body want to do when I am in this position with my centre lowered and my arms bent. Well at that moment I wanted to be lustful, I wanted to be somehow dirty, and because of the way I was standing I became this odd perverted character, I pass on this energy and it changes, that body is not in that poition. That person has not had my day, and so it reacts differently. The energy transforms, so then when I get the energy back, it has changed and thus my impetus changes; my body shifts, and suddenly I am somebody else, a new character.

I made a pre-judgement at the beginning of a session that I don’t usually do. I believed, arrogantly, that was I was being asked to do was masturbatory. Go where you body wants to go move where your body wants to move. I rub my foot, it hurts, I rock back and forth because I need to massage something of loosen something. I attended my body. But I couldn’t grasp the framing; we’re doing soundscapes? I usually don’t get it at first and so I just accept. Usually it does not disturb me. In fact, my training is from a school that did not explain things, and that you had to find out for yourself. This is your path. But what was being explained to me was something that I new, yet could not connect. Why do I focus on this is? Because there was a clear movement arc. Where I ended up at the end of the session, a rocking, an unbalance, was where I started, yet this time I found the play in it. The ability to find laughter and joy not because I was embarrassed, but because laughter was as much an impulse as touch.

Harmony suggests a blending of things. And in theatre the idea of putting different stuff together is not new, we have a chair and a stool, a light that seems disco like, and somebody bopping away on a light up dance floor and we see a disco. They blend, they make a picture, a landscape that we experience bodily, yet is constructed semiotically. What if the picture was not constructed as such. What if the blending of theatre merged from what our body wanted to do with the space.

We tell stories, we create stories, but first and foremost; we communicate. There is a dialogue between actor and audience. How can we create an environment that speaks from our bodies with our bodies. How can environment play our bodies and then how can we relate this to an audience?

Its interesting that I found complicites new show Shun-kin more engaging than a disappearing number. It allowed an audience to see the construction of an image, see how it begins and ends. There was a clear impulse to start, and you could see the energy being passed on, transforming the space. It is this transformation that something happens that is exciting. I have my quarms with Shun-kin, but there ability to find an extension in a movement or phrase creates atmohphere and is truly engaging.