Thursday, September 08, 2011

A Process

The practice begins with the creation of personal material by freely improvising physical movements and vocal sounds until a clear physical and emotional association is established. A series of associations are then created. These associations are then individually refined to become as exact and repeatable as any structured movement. Once the association is refined it is called a Glyph. An aspect of Glyphs are they keep their improvised quality being immediate and may seem to the spectator to be created on the spot, but in fact are highly scored.

Upon creating a series of Glyphs, they are then put together in a larger sequence called a Petroglyph. The Petroglyph is a montage of physical and vocal scores (Glyphs) combined in such a way as to create an action. Shaping the Petroglyphs through pacing, duration, tempo and dynamics allows dramatic arcs to be rendered. The Petroglyphs are then aligned and rendered again into a piece with a rhythmic coherence. For the You is made up of four Petroglyphs.

The sequence of Glyphs & Petroglyphs, artifacts & environment help cultivate meaning. Ultimately the experience is completely objective. Like viewers of surrealist paintings meaning is created in disparate images presented by the artist.

The experience is, in part, fed by what is not given to the spectator. An important aspect of the work is the presence of the absence. Other characters, relationships, and outside forces are implied but never shown. A creature in a horror film is never shown but is made real by the imagination of the movie audience. The way I move or use voice or place the un-shown person/object in space with my eyes all create the presence of something that is actually absent. The beauty is we (performer & spectator) imagine something different: an objective experience, collectively. During the piece, the spectator’s imaginations fill in the blanks carefully crafted by the artist to create their own, individual stories. The spectator is a creative collaborator.

Text is used as a foothold throughout the piece as moments the audience can relax and receive apparent meaning so they are not relentlessly forced to create.

Humans naturally want to make sense of the world around them, to create reasons for actions and justify moments of seeming randomness. Association drama allows the spectator to create and removes the ego from the performer by displacing the act of telling the audience exactly how it should be. - Kristen

A path through the drama is an immersion and connection. What's it about? Where is it? These are not exactly the right questions. An entering deeply into relationship is a way of following. Surrounded by actions, associations all around touch and shape the territory. That's where you watch, isn't it? That's how and where you wonder? Everything you've seen you've seen from within the nature of the drama.
At every instance you expect what is hidden everywhere.
You know it because you are the story.
- raymon

:: Note :: ... this document was created from notes during the working process of For the You ... it was included on the back of the program ...

Wednesday, September 07, 2011

Temple Theatre

Kristen Holfeuer / For the You / ᕦ
What happens when we remember?
What happens when we delve into the memories of others?

Are we entitled to the knowledge contained in the memories of those who came before us?

I don’t feel like this piece was created so much as remembered. If process, form, and content all inform one another, it is only right a piece about memory should be created by remembering and then shaped like memories floating (or sometimes hiding) in the brain.
- Kristen

... engages the ancestor, lets her speak giving back her voice. Tells a story to the ancestor in ourselves. For the lives of others to truly matter the ancestor must be encountered to open the present.

... Walter Benjamin in 'The Storyteller', "less an answer to a question than a proposal concerning the continuation of a story which is just unfolding."

... enlists the ancestor to an attentiveness that lives & moves from breath to breath, body to mouth, sound to word singing the world we carry. - Raymon

AeRan Jeong / Sori (Sound)
Pansori / Chunhyangga: story of love between Chunhyang, the daughter of a kisaeng, legally an entertainer of the government, required to perform various functions for the state and Yi Mongryong, the son of a magistrate.
Dongbaek taryong (Camellia Call): Minyo (Folk Song)
Pansori / Heungbuga: A story of Heungbu who was a poor but good man with many children.
Pahrongsae (Bluebird)
Pansori: The term pansori is derived from pan (판, meaning "a place where many people gather"), and sori (소리, meaning "sound").

Raymon Montalbetti / Delights
... meeting & meanderings in the cultural stream ... a tone poem following Grass Jelly, part one of meeting & meanderings ... a little bit like putting body memory back into cultural memory and likewise archiving the cultural memory back in the body - both of which tickle a bit.

Text: from The Story of the Mount Potala Delights verse 139, 140 & 141.
A Visionary Journey - Longchenpa
Translated and annotated by Herbert V. Guenther


We hope you enjoy.

:: Note :: ... All photos from a Rehearsal Shoot by b. proudlove ... presented on the evenings of Aug. 14 & Sept. 5.

Thursday, September 01, 2011

drama path

A path through the drama
is merely where the words aren't:
an immersion and connection.
What's it about? Where is it?
These are not exactly the right questions;
It is an entering deeply into relationship
that is the way of following.
It is surrounded by actions;
if it had a nature, it would be
the associations all around that touch
and shape the territory within it.
That's where you watch, isn't it?
That's how and where you wonder.
Everything you've seen you've seen from it.
At every instance you expect
what is hidden everywhere.
You know it because you are the story.

:: Note :: ...... apologies to Samuel Menashe Reeds Rise From Water & Crispin Sartwell (The Green door Issue 4 Here / Now / Here ...) ...