What's left if we take the purpose away from the movement?
i.e. Zoe Schoefield:
Director of Photography: Gabriel Miller, Kindred Media
interests: physicality, language, translation, contradictions, transition, dysfunctional objects, quixotic journeys, narrative
stage - gallery
physical movement - installation
liveness - object
performance - ritual
aesthetic: cinematic, staging/lighting/creating the space. Instilling an object/activity with implication of meaning
contraditions: Artaud / Theatre of Cruelty (Ritual - taking body to pieces, going beyond representation)
Tatsumi Hijikata (土方巽 Hijikata Tatsumi?), March 9, 1928 - January 21, 1986) was a Japanese choreographer, and the founder of a genre of dance performance art called Butoh. By the late 1960s, he had begun to develop this dance form, which is highly choreographed with stylized gestures drawn from his childhood memories of his northern Japan home. It is this style which is most often associated with Butoh by Westerners.
Hijikata was an innovator in movement technique. He was a master of the use of energy qualities in constructing expressive movement. He would use sounds, paintings, sculptures, and words to construct movement, not exclusively in a formal or literal memetic application, but by integrating these elements via visualization into the nervous system to produce movement qualities that could be very subtle, light, angelic and ghost-like, or demonic, heavy, dark, grotesque, violent and extreme.
This use of visualization (triggered and supported by the above mentioned elements) masters sophisticated movement qualities similar in many ways to the Mime System of Jacques Lecoq.
Pina Bausch : Her pieces are constructed of short units of dialogue and action, often of a surreal nature. Repetition is an important structuring device.
…especially in "Frühligsopfer" the choreography demands that the players abandon themselves right up to the physical limits. It is only this that gives the pieces an authenticity and dramatic power that is transmitted directly to the bodies of the audience. Pain, suffering, desperation are not merely implied or conveyed in a pretty gesture. They are unloaded with the force of extreme physical and emotional presence. This requires dancers who have no fear of themselves and who are prepared to reveal the elementary human drives in themselves and to portray this authentically on the stage.
Lee Walton http://www.youtube.com/watch?v=91JpmouCEg4
seems inconsequential 'fluff'...
(I would like to see more gravity, beyond the questions "What can I get people across the globe do for fun?'..)
The Columbia Encyclopedia:
Jerzy Grotowski , 1933-99, Polish stage director and theatrical theorist. Grotowski was founder and director of the small but influential Polish Laboratory Theatre (1959). He propounded a "poor theatre," which eliminates all nonessentials, i.e., costumes, sound effects, makeup, sets, lighting, and strictly defined playing area, in an effort to redefine the relation between actors and the audience. Late in his career (1986) he opened the Workcenter in the village of Pontedera, Italy, where his ideas about theater are still explored, actors are trained in his methods, and an abstract song and movement composition called Action is frequently performed.
Artaud believed that the Theatre should affect the audience as much as possible, therefore he used a mixture of strange and disturbing forms of lighting, sound and performance.
In his book The Theatre and Its Double, which contained the first and second manifesto for a "Theatre of Cruelty," Artaud expressed his admiration for Eastern forms of theatre, particularly the Balinese. He admired Eastern theatre because of the codified, highly ritualized and precise physicality of Balinese dance performance, and advocated what he called a "Theatre of Cruelty". At one point, he stated that by cruelty, he meant not exclusively sadism or causing pain, but just as often a violent, physical determination to shatter the false reality. He believed that text had been a tyrant over meaning, and advocated, instead, for a theatre made up of a unique language, halfway between thought and gesture. Artaud described the spiritual in physical terms, and believed that all theatre is physical expression in spac
Epidauros (greek tragedy / chorus work):
Brothers Quay / chorus / theatre 'dance'...:
Bas Jan Ader:
Tacita Dean’s works span the realms of fact and fiction, and frequently cite the emotive journey between concept, narrative and experience.06.06.2006 Tacita Dean’s works span the realms of fact and fiction, and frequently cite the emotive journey between concept, narrative and experience.
what I like about i.e. Cunningham, Herzog, Boal: the accumulation of the 'MYTHIC', gravity, importance, history