Approaches to improvisation – Dance Informa Journal






These days, I’ve been eager about the numerous potential meanings of the phrase “improvisation” in relation to bop. On the one hand, improv is improv and you might be welcome to do no matter involves thoughts/physique. On the opposite, not less than in my very own improvisation apply, I’ve seen that sure improvisatory duties in addition to sure methods of approaching mentioned duties are prone to yield very completely different outcomes each experientially and visually. 

Dance Informa spoke with just a few unimaginable dancers who dedicate a lot of their apply to improvisation to study extra about what goes by way of their thoughts, physique and spirit whereas they improvise. Beneath are our greatest makes an attempt at summarizing the wealthy conversations we had with Zornitsa Stoyanova, Vasiliki Papapostolou and Megan Castro.

Zornitsa Stoyanova

“I used to be a type of actually late bloomers who found dance once I was 15 by way of some after faculty dance lessons. After I was 18, I went to my very first contact improvisation pageant in Budapest, Hungary, which is arguably the European capital of contact improv. There, I studied with many necessary contact and compositional improvisation lecturers in addition to one of many pioneers of contact improv, Danny Lepkoff. It was additionally my first expertise dancing with extremely skilled dancers and technicians who have been improvising alongside individuals who weren’t skilled dancers, which felt actually necessary. That pageant made me notice that I needed to bop. I used to be residing in Bulgaria on the time, and by chance, once I instructed my mother and father that I needed to go to the U.S. to review dance, they have been okay with it.

Zornitsa Stoyanova in rehearsal for 'Brutal Honesty'.
Zornitsa Stoyanova in rehearsal for ‘Brutal Honesty’.

I attended Bennington School, a historic dance faculty, and I used to be thrilled to be dancing in the identical buildings as legendary American choreographers Martha Graham and Doris Humphrey. At Bennington, I used to be a part of the Emergent Improvisation undertaking by Susan Sgorbati, which was a really completely different manner of taking a look at improvisation in an ensemble kind. We have been eight to 12 dancers, and have been borrowing behavioral scores from biology. The concept was that in nature, kinds emerge, and as dancers, we have been attempting to let these similar kinds emerge for us. I additionally received into compositional improvisation whereas in faculty; to me it’s choreography since you set your self a rating and use it as a manner of choreographing your house and the period of the piece.

After graduating from Bennington, I moved to Philadelphia the place I began dancing in a big ensemble with Nicole Bindler, was a part of improv corporations perpetual mvmt<>snd and Graffito Works, and in addition had the chance to study from Deborah Hay. Deborah’s strategy was very completely different from what I used to be used to; fairly than utilizing the composition instruments I had discovered, she advocated for a ‘simply go’ mentality, a manner of discovering out what it’s whereas it’s occurring. I used to be initially very skeptical of this methodology, however all through the years, I noticed that it’s an extremely rigorous apply that advocates for the continual interrogation of what’s occurring within the physique. What are we sensing? The place are we in house?

I lately learn an article by Peter Pleyer who’s a German improviser and trainer I studied with. He talks about how improvisation isn’t one factor. You possibly can improvise primarily based on what feels good, and that’s actually completely different from attempting to make one thing that is sensible choreographically, which can be very completely different from improvising in a gaggle. The entire approaches I’ve engaged with dwell inside me, and I’m continuously switching between them. This selection is a device for me to maintain entering into dance and in life. To repeatedly permit myself to say, ‘Okay, there’s something subsequent. It’s okay if I don’t know what it’s, however I’ll uncover it.’ I’m nonetheless practising that belief. I’m nonetheless scared once I’m misplaced, however in being misplaced I maintain reengaging with doing and discovering the issues that I care about.

I began incorporating speaking into my motion improvisations naturally, and I practiced it for years earlier than I even seen that it was a apply. At first, it was a manner of socializing with out wasting your studio house time. It was costly to hire house, however I additionally needed to gossip with my fellow dancers and listen to what was happening of their lives. After taking a workshop with Jeanine Durning through which we practiced continuous speaking and transferring, I began realizing that what I used to be doing in my warm-ups was a part of my general inquiry in efficiency. Though I didn’t begin naming the apply till round 2020, I’ve lengthy been keen on language and the way it connects to theatricality. For a 2016 piece referred to as Express Feminine, I did language-based analysis which had rather a lot to do with tales of the physique. Phrases usually emerge by way of the apply of doing, and I discover that my thought course of is best embodied by this apply than by simply talking or simply transferring. The concept of ‘sure and’ has been very helpful to me as has exploring methods of decomposing language and incorporating recognizable gestures into my work.

In my present apply of improvised dancing and speaking –– Brutal Honesty –– I’m actively working to not censor myself. The apply up to now isn’t a lot stating out loud what I’m censoring however noticing how a lot of the whole lot I do is a social assemble. It makes me query up to date humanity. I discover causes for a way I turned the way in which I’m, and all of the performativity my physique has discovered from being born the place I used to be, experiencing life in a sure manner, and being taught that magnificence is one thing to hunt. There’s lots of digging deep into discovered normative behaviors. Up to now, these concepts and themes aren’t seen by way of efficiency. Possibly Brutal Honesty on this kind is only a therapeutic motion apply? At current, I’m researching the way it may evolve right into a public efficiency. My complete profession has been centered round improvisation and efficiency collectively –– not one or the opposite. As quickly as there’s any individual witnessing, it’s a efficiency. When I’m working with Brutal Honesty, I’m at all times a witness to myself, taking part in the function of each performer and viewers. The half of me that’s the performer works to determine what I’m permitting to point out of myself. That factor could be vulnerability, it could be embodiment, it could be a choreographic idea. On this recreation of taking part in each roles, I’m at all times searching for authenticity within the expertise of my senses, whereas illuminating all of me –– my socially constructed personas, archetypes I embody, laundry lists, my fears, my wishes –– of this right here and now and gone.”

Vasiliki Papapostolou

“I began improvising in 2014/2015, once I began coaching in up to date dance. In the course of the preliminary COVID lockdown in early 2020, I had extra time on my fingers and I improvised rather a lot at house –– round an hour a day. It was a really private factor, and I noticed I used to be attempting to cowl the hole of bodily contact that I felt by way of dancing. For me, improvisation is about how I really feel –– about shapes, textures and musicality. One of many methods I’m working is by attempting to instinctively interpret the textures of the music, and I exploit music I do know in addition to new, unfamiliar music. Possibly the music suggests one thing round or sliding or steady or sharp, and I attempt to convey these into the physique. It’s not in regards to the motion itself however in regards to the texture.

Vasiliki Papapostolou.
Vasiliki Papapostolou.

I normally don’t begin with a sense, nevertheless it comes out whether or not I would like it to or not. Improvising on happiness once I’m burdened or anxious, for instance, won’t convey out happiness. As a substitute, I see improvisation as a manner of experiencing my true self, a approach to entry what is occurring inside (which is normally extra complicated than a phrase or two). I do typically start an improv with an thought. For some time, I used to be improvising in heels. With each motion, I used to be making a sculpture versus performing a thrown motion, which helped me work on form. I additionally went by way of a jellyfish section, attempting to embody not solely the picture of it but additionally the feeling. I don’t see myself from the surface however attempt to really feel it from the within. Despite the fact that I’ve a mirror, I normally keep away from it. You possibly can go deeper by turning into the factor than by taking a look at it.

I’m additionally affected rather a lot by different motion types exterior of latest in addition to different dancers. I’ll see a video of somebody popping or doing Latin, after which I’ll attempt to seize the essence of the standard and use it in my physique as an additional high quality to see what it brings to my very own motion. I’m impressed extra by the how than the what, and normally discoveries come later as soon as I’m capable of enter the state of stream, which is a psychological state the place you’re absolutely immersed in what you’re doing and also you cease pondering. Tiredness is a powerful a part of that, and issues deepen by way of repetition. The extra drained I’m, the much less room for judgment, and the extra room for spontaneity. If I say I’m going to do an improvisation to report it, it doesn’t work. My favourite movies of me are once I’ve been improvising for some time. The primary issues that come up are the issues I ‘need to do’ and match what I feel the video will seem like, however improvisation is way deeper than that. If not, it’s choreography. Improvisation requires the unconscious. You possibly can have an thought of what you need to work on, however not the ultimate factor.

I’ve watched how my improvisations change from daily because of completely different stimuli I convey into the house both consciously or subconsciously. After I started coaching in the identical place with breakers, for instance, my motion was noticeably affected although I didn’t notice it at first, which additional proved to me that improv as a apply isn’t mounted. You possibly can’t say, an individual ‘improvises like that’. Breakers do lots of threads, for instance, and this got here into my improvisations with out planning. It doesn’t matter what I’m pondering, there’s at all times stuff within the unconscious underlying it.

Years of improvising have taught me that initially you need to look unhealthy, and that attempting to be good makes you lose the duty. When you discover the duty, then you possibly can transfer ahead from there. For those who attempt to make one thing attention-grabbing from the primary second, you aren’t exploring. You’re not even improvising. Improvisation must be a device to search out one thing new. For those who’re scared to look unhealthy, don’t do it. Simply do choreography. Whenever you see your self from the surface or while you report your self for an consequence, you begin choreographing and also you lose the feeling. You’re not embodying one thing. The objective of wanting good will make you seem like any individual who desires to look good. For those who embody a cloud, nonetheless, you’ll seem like a cloud.”

Megan Castro

“I began an Instagram motion journal throughout COVID to assist me keep sane and related. I assumed I’d do it for 2 weeks since that was our preliminary quarantine time, however clearly that received manner prolonged. I ultimately switched from the captions ‘Quarantine Day X’ to ‘Motion Journal No. X’ with a view to give myself permission to do it once I needed to and never be compelled to journal on daily basis. There was a interval once I thought I by no means needed to cease. Now, I’m much less sure about that, however I’m additionally unsure about any particular arrival level –– possibly it’ll fizzle out, possibly not. Even on days when my mind doesn’t really feel like improvising, I simply begin transferring and one thing chemically occurs that makes me not need to cease. Whether or not I publish my movies on Instagram or not, I’ll in all probability stick with it as a wholesome bodily and psychological apply.

A ‘good’ improv is genuine motion that actually feels prefer it’s coming from me. That’s what’s attention-grabbing. Simply me being me. After I really feel that what I’m doing is unhealthy or get indignant about it, I’m too acutely aware of what’s occurring. Too conscious and attempting to mimic issues that aren’t genuine. After I catch myself doing actions that I feel individuals will like, I’ve to cease the digital camera a number of instances. Good or badness of an improv session is decided by how my thoughts was throughout it –– the standard of the connection between thoughts and physique. For me, improvising could be very meditative and appears like a unison of previous and current. It permits me to enter a state of stream whereas nonetheless being acutely aware, and issues usually bubble up from my unconscious thoughts.

Megan Castro.
Megan Castro.

For my motion journals, I normally dance for about 20 minutes, preserving the digital camera going the entire time, typically stopping a few times. After I’m completed, it appears like while you’ve eaten sufficient or had sufficient water and are glad. I typically publish 10 movies per session of about 30 seconds to at least one minute every. I additionally don’t use any music. Initially, I used to be utilizing music as a result of that’s the way it’s ‘speculated to be’; normally dancing with out music is seen as a choreographic alternative. When watching my improv movies the place the music was too quiet or I didn’t have entry to music, I discovered them extra attention-grabbing as a result of they have been much less ‘influenced’. I feel there’s extra to be present in ‘silence’. I used to publish my movies muted as a result of I assumed individuals would assume I used to be loopy for dancing in silence, however I ended doing that, and I now discover it attention-grabbing to listen to new issues upon watching that I wasn’t acutely aware of listening to whereas I used to be dancing.

I began out by mentioning what impressed me in my captions, which have been usually concepts of pure forces like wind, water, hearth, air, and so forth. After getting a big response to at least one video, I made a decision to enter the precise atmosphere. To bop by water. Dance with the wind. Including in pure components allowed me to be immersed fairly than having to assume such components into existence. After a interval of dancing exterior, I seen that I used to be shedding sure sensations and will see the place my physique was ‘numb’ or not activated when watching my movies; being in sneakers made me lose articulation in my ft and dancing with my hair down restricted my neck motion. I made a decision to begin an inside motion journal the place I am going in proper after dancing exterior and proceed improvising for round half-hour. I don’t publish the within movies and normally delete them after round a month, however I’ve seen that inside is the place breakthrough moments usually occur. The work is inside, and the efficiency is exterior. As a result of I don’t plan on posting inside movies, the analysis is extra genuine.

I’m within the mid-500s with my motion journal not counting the official ‘quarantine’ posts, and it’s attention-grabbing to look again to my first movies, seeing extra of what ‘I discovered’ (e.g. Gaga or Countertechnique), however not as a lot of myself. My motion journals gave me confidence, inspired me to strive extra issues, opened new pathways and gave me permission to do no matter.”

By Charly Santagado of Dance Informa.

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