Score 1 without coordinates–to be modified, and how I learned to spell, “occurrence”

by Lydia

Section 1:
Dancer 1: perimeter, avoid, attract, ignore
Dancer 2: center, avoid, attract, ignore
Dancer 3: center, avoid, attract, ignore

Section 2:
Occurrence 1 with phrase 1
walking/locomotion
gesture in clump space
occurrence 2 with phrase 2
weight shifting
locomotion and change of coordinates
individual manipulation of phrase 1 and 2
occurrence 3 with phrase 2
clump in 4th with sequential body circles
occurrence 2 with a section of phrase 1
occurrence 1 with a section of phrase 2
occurrence 3 with a section of phrase 1
phrase 1 with crescendo in deliberation

In each “occurrence” each dancer has a predetermined role (quality, dynamic, variation on the theme) and relationship to the group

So now after I’ve typed this (it’s been hand-written until now) I realize how lofty the word “occurrence” appears. I just couldn’t use “incident”–far too haphazard for my admittance. I’ve designed this score to take from and eliminate from. It’s a rough, rough draft of flow. And I won’t know how far off or how close to the mark I am with this until we’ve been in the studio as a group. A few weeks ago I wrote about how the environment will be completely unpredictable because the “performance space” is also the “audience space.” So what I’m doing here is creating a score of relationships to each other in space to then manipulate the phrases in the moment, allowing for the space to inform our choices. Because we will be rehearsing for 6 weeks, we will be able to become comfortable with the phrases, take liberties as we improvise within the relational directives, so that we can explore the directives enough to create something completely new each time, including at the CAM. It’s called Points and Coordinates.

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