Any thoughts generally or specifically?

From the Improbable office:

COMING SOON… IS CROSS ART FORM ABOUT CREATIVITY, COMPROMISE OR COALITION? July’s D&D will be hosted by Sarah Ellis, programme manager at Apples&Snakes, the U.K’s leading organisation for performance poetry. Sarah manages the national programme development for the organisation and is currently working on their pioneering online project My Place Or Yours. Poetry,theatre, dance, digital media, etc, etc..Join us for an Open Space discussion around whether combining art forms is the future of culture or its watering down. DATE: 5th July VENUE: FREEWORD, 60 Farringdon Road, EC1R 3GA TIME: 7.30p.m. Full invite to follow shortly. Visit Improbable: Devoted & Disgruntled at: http://devotedanddisgruntled.ning.com/?xg_source=msg_mes_network

See below for a short report of the event!

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8 Responses to “Random”

  1. Tim Taylor said

    As tempting as it is to sit in front of this screen and tinker – I notice that we have another glorious May-day outside…is there something about Jack and all work…?

  2. Tim Taylor said

    As an interdisciplinarian (oh, yes…), I’d say “Cross Art…way to go!” But, it’s not without it’s complexities…really looking forward to the July D&D – as always, it’s very good to rap!

  3. Tim said

    Very good, full, healthy blog at… http://gerardtaylor.blog.com/

    • Tim Taylor said

      See this site for information about Gerard’s new book all about vegetarian catering – a book that’s crammed with recipe and catering ideas and is presented in a witty and entertaining format!

  4. Tim Taylor said

    The Guests R& D weekend at Trelander Community Hall in Truro was very worthwhile.

    Saturday: introducing characters (for me: that’s Kevin – an ex-soldier, part-time bouncer, semi-itinerant man with an eye for the sensual and poetic), working with rules and territory (within a cardboard city) and presenting entertainments;

    Sunday: some dance moves recap from February and with integration of new input (e.g. using cases during the Shubert excerpt) and the characters having to deal with ‘crisis’ when forced to confront the difficulty of being asked to move/contain our boxed-living spaces and then having to select someone to eject from the community. This latter exercise, after the (familiar) exhuberance of the morniing, provided a challenging contrast in terms of creative investigation as one was forced to confront how one’s character was being perceived. Whilst this did not always make for a comfortable experience, it was both creatively stimulating (around matters such as what it means to be responsive in an improvisation whilst also being true to one’s character) and it has prompted me to consider the benifits of finding out more about being in the army, post-army life, the training and also about how being ostracised by the army, perhaps for reasons to do with sexuality, would be like.

    The work also brought up issues to do with power and violence. I believe research into who, where, when, why, what and how Kevin is in relation to the other people in his community and to the wider population, and also to places and things around him will be beneficial with regard to preparing for stage 3 of the R & D process coming in September.

    See also: http://guestsrd.blogspot.com/

  5. Tim Taylor said

    Very interesting to have seen some of this year’s MA Choreographic work at The Place on Wednesday. All three pieces worked with a strong sound world – familar sounds – clocks ticking, alarm sirens and scratching surfaces, juxtaposed with musical fragments and atmosheric tonalities. Having been involved in the creation of my own sound-scape for the Art of Conversation at London Met – I was intrigued to note this shared preoccupation with all things sound. Maybe there is something in the air?

    Of the three pieces at The Place, though the first was powerful and theatrical and had one moving inwardly-forward toward the stage (something I notice that I do when really stirred by the dance) and the second had some lovely intricate movement though was somehow rather less rhythmically arresting – perhaps just a tad too willowy, the third piece was the most fully engaging. The moves – surprising, the cast – superlative and the dynamic landscape commanding. A very good work by maker, Joe Moran.

  6. Tim Taylor said

    I attended the Open Space at FREEWORD on the Farringdon Rd last night, hosted by Sarah Ellis in partnership with Improbable Theatre. Sarah posed the question: IS CROSS ART FORM ABOUT CREATIVITY, COMPROMISE OR COALITION? As always at Open Space events (on this occasion attended by 36 people) conversations abounded, the central question acting as catalyst for a mix of philosophical, pragmatic, prosaic and pretty conversation (loving that letter p today!).

    There were a number of ideas emerging and consolidating for me, during an evening of particularly good vibes – I think the young poetry and writing set added a vibrant frisson to the proceedings and Lucy from Improbable led with great aplomb. Matters that interested me included: ‘Can dance and poetry combine?’ Amongst responses, their ‘sisterhood’ was noted. We suggested that they work very well together – tacitly (though any relationship between them will bring exacting – though joyful – responsibilities). Later in the evening, another question was posed: ‘Isn’t all art combined? …[and]… What would a pure, unaldulterated art form look like? Ideas around integrity, marriage, youth and regeneration emerged in relation to the nature of art in all its multi-dimensional responsiveness and power to express. We also considered how labels, though at times debilitating, have benefits. So, the term ‘combined art’ – itself a label – can facilitate a coalescence of artistic expression and audience response.

    With regard to the term, purity, it was suggested that perspectives can change. Also, excellence was considered in the equation: does a Rembrandt count as an example of pure art – isn’t it just too crafted? What of a poem by Keats? Does our perspective of his work as part of ‘the canon’ give his work a patina of purity that he would not himself have claimed? What of music… Mozart or a dance by Cunningham? Do these provide models of purity – perhaps juxtaposed with ideas of fusion and cross-fertilization? A dancer noted that music and dance are just as crafted as a painting.

    What is purity – is it innocence or art? One summary provided the idea that a fusion of egg and sperm may be the original and ultimate act of combined art!

  7. Tim Taylor said

    Went to see Hofesh Shechter’s ‘Political Mother’ on Friday. I met him at a workshop a group called Spiral Dance Theatre were running at the Rudolf Steiner Centre in Baker St in 2003, shortly after he’d first arrived in Britain from Israel I think and I recall a rather soulful, respectful person. He performed a solo piece at the performance platform Spiral Dance were organising.

    Political Mother is my introduction to his work at this point of his career. What I loved was his language of dance, his intricate interconnection of a kind of folk idiom with funky physical theatre-esque shifts in weight, countered with rapid-fire shakes and juts of limbs. Also, the musicality of his rhythms – so good! The soft, rounded lyricism of the movement style is distinctive and a pleasure to watch.

    Of the grandeur of the staging and soundtrack, whilst I found it compelling and to an extent thought provoking (conflict, idolatry, alienation and tenderness..) and clever in its sudden shifts in tempo and volume level and, oh yes, I’m a sucker for a bit of Joni of a show…, I also had the sense of a young person’s reading of matters. There’s that ‘in yer faceness’ to the presentation of ideas that’s so popular with the press and certain sections of the dance community. Despite the hyperbole, I’d suggest it doesn’t have quite the depth that it could have with regard to providing a reading of life experience.

    But, again, the moves – whoa, way to go…!

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