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METHOD

Preparation of the “Self” as artistic medium. The body, the psyche, the imagination.

In order to use the self to create art, one must address the self as medium.

Therefore, in order to prepare this medium for optimum use in creation, the body and mind need to be “tuned” – alert, responsive and open to possibility.

The objective of these physical and creative exercises is to provide a universal, unbiased substructure for the body and the imagination from which to explore, discover and create.

Throughout my pedagogical practice as a teacher of movement, I have always placed the upmost importance on facilitating students personal exploration and discovery. I have often found myself creating exercises on the spot in order to gain insight into a specific movement concept. Over the years, this approach has shaped a pedagogical method that has, in turn, informed my own creative practice.

In much the same way as early scientists sought the basic “building blocks” of all matter (eventually discovering molecules, atoms and beyond), I have sought to find basic movement concepts inherent in the body on a “molecular” level – the substance of motion in its purest form. In this method, each exercise is a thorough investigation of one specific movement concept and its possibilities.

As part of my MFA studio practice this year, I have classified and catalogued these concepts in a series of exercises I am calling “BODY TUNING”.

Using the analogy of “tuning” a musical instrument or an engine in order for it to function smoothly and efficiently, I have developed a series of physical preparation exercises. Each of these exercises isolates one specific fundamental concept of self in relationship to body, time, space, gravity, surface, form, body sound and motion.

Proceeding into another series I am calling “CREATIVE RESPONSE”.

These are exercises to use interactive play for the engagement of self with “other”.

They explore responses to such entities as: environment, sound, image, text, object, colour, texture, smell, taste, concept, narrative, technology, character, identity and human interaction. (In fact, there’s no reason why they should not include animal interaction too!) Many of the exercises have been adapted from actor training techniques, such as those of Konstantin Stanislavski, or from traditions of Movement Theater – like mime, Viewpoints training or even “Improv Theater” style party games.

Using this preparation of the “Self” as raw material, as artistic medium – we can then apply our “prepared self” to the creation of new work …

And very probably, “New Work” is already organically evolving out of these exercise explorations – where the art lies in the discovery and execution of possibilities.

On the following pages, you will find PDF instruction documents plus video and image examples of all Body Tuning (BT) and Creative Response (CR) exercises explored in the Performance Anxiety Workshop Experiment.

Photos: Gwen's Joint Spirals (above), TI peers in NYC doing Body Tuning (photos by Gwen Charles & Stephanie Reid) plus Body Tuning & Creative Response with Tesa, Madalyn, Stephen & Mike at WWC workshops

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