Free Impro Rules!

This must be one of the most amazing Konnektiv sessions ever, and once again I am reminded of several things.  The learning process is quite incredible, and some of the deepest learning happens when we don't even know that we are doing it. 


We learned a way to juggle two balls and two hoops, as a group.  We realised towards the end of the 3/4 hour excersise, that we had not just learned to pass a ball and hoop in a certain way, but that we had learned something of our relationship to the rest of the group, and we hadn't even known that we were learning it.


I watched sometimes and sometimes I was in the thick of a dynamic, flowing improvisation that really seemed to take on a life of it's own at times.  I wonder what someone who isn't a member of the group would think if they saw us rehearse.  

Hopefully they would see the skill, the interactions, the energy, the friendliness and generosity, the ability to take risks.  We are now a very mature group.  The main danger is that we may, if not careful, get 'stuck' in certain roles.  It is normal that we have an 'improvisation character', though we ideally have several, that we can move between, because in free improvisation we can become entrenched in one form of expression, which is contrary to expectations, because of the variety of dynamics that is available.  It may be that it is just this variety that causes the entrenchment, as there is literally too much to choose from, and people tend to stick to the one that is familiar.  

This is hopefully assuaged by the giving of a theme.  In a sense, by giving structure, we may actually increase the available options, because there is a framework on which to hang our choices.

In this case, the structure is the machine.  We have worked with this theme in many ways, and have been through different ideas about how it will eventually be expressed in performance.  At first, the machine was very rigid and robotic. 
 Gradually it has become more human, and thus more interesting, both in terms of performing and watching.  The humanness of the machine requires us to be more observant of each other, and aware of the part that we play in the ever changing dynamics in presentation.  The whole is greater than the parts, but only if there is a homeostasis, that is all of the parts are in balance and there is a true synergy of expressions.  


Much of our rehearsals will not be about precise choreographed routines, or learning exact orders of events, but they will be around gaining an increased sensitivity and awareness of each other, and how we all work in relation to each other.  They will also be around play - a very important creative medium - play does two things, firstly it takes away the fear of being wrong - and we have sometimes to relearn this after years of trying to play by the rules, we now discover that we can play without rules.  This is safe.  

Of course there are some rules we choose to keep - we are respectful of each other, we are inclusive, non-judgemental, and open.  within these rules, we have a great amount of freedom.  The other good thing about play is that it makes it safe to work with themes that may be challenging - death, fear, the unknown, power, rivalry, and so forth.  We become familiar with what these themes mean to ourselves, and what they mean to the group, and we begin to feel that we have mastery over them.

Rhythm
Rhythm is of great importance.  From the rhythm of our heartbeats, our lungs, the seasons and the years, to the rhythm of our footsteps, synchopated by words, tears and laughter, the often conflicting rhythms of the ticking clocks that we try to live our lives by, and those of our emotional cycles, that we often try not to (but perhaps we should!).

Much of today was around creating rhythm.  When we start to use vocal sounds, our movements change, our movements take on a different life, and we at once increase the range of opportunities for expression before us.  This doesn't work for words, but with a small exception.  Short sentences can be used repeatedly to good effect 'she owns that'; 'these people are crazy'; are two of the phrases that were repeated over and over, to great effect.  

The rules of music apply - Repeated phrases, varying phrases, turn taking or vocalising as a group, with one breath.  The importance of indispersing variety and surprise with some predictabiltiy and repetition.


Movement
The dynamic of the movement has two main themes - firstly integration, when all of the group are integrated into the machine, there is a strong, predictable, regular rhythm.  
Parts may be doing things, but they will be in precise time with everything else, bringing about a balance of what the viewer sees and hears, and seeming very complete and satisfying.  The other theme is chaos.  The chaos is unpredictable and exciting, it will do unexpected things, it may be funny or frightening, it represents breaking down of order, and leads to the birth of a new expression.  Because when the chaotic energy subsides, the regular, mechanical rhythm returns, but the beat is rather different, bringing about a new expression.  As the needs of the group or the environment change, the new expression should be able to meet these needs better than the original one, which becomes ill fitting.

Prolonged predictability.
What happens when a rhythm is kept the same for a very long time?  Maybe it becomes boring, or maybe something else happens - a different state.  

There is something of the shamanic in this.  A very regular, repetitive set of sounds could be tedious in the extreme, but also could lead to entrancement.  What is it that decides whether we are bored or entranced?  Ourselves?  Our social situation?  Our environment?  The precise physical nature of the beat itself?  This is an interesting train of thought to me, and one that I might well return to at a future time!