Once again I have changed the name of this technique I am developing with the help of collaborators Merv and Damon.
Choosing names for things is difficult, and also represents changes in the way that I am percieving what we are doing.
In yesterdays session, something strange happened. For the first time we had a workshop attendee who did not find the processes that we are looking at relaxing or therapeutic in any way. On the contrary, she found that she felt sick and dizzy, in either of the two roles.
This is useful as we are doing each of the three conditions for 10 minutes each, however when workshopping with others, perhaps I need to stick to 2 or 3 minutes per condition initially. I considered starting with the Blind-I having their eyes open, however I don't think this would work. Maybe initially, I may try this as an experiment.
In two weeks we will be workshopping this for the first time with a naive group (by naive I mean they won't have any previous experience or knowledge of the method), so this will be a good learning experience.
Back to this weeks session.
Having lost the person who felt sick and dizzy (she went off to stick booklets together instead), I quickly thought of a way that the group could incorporate all three of us. As I had already brought some paper for people to write responses to the processes and experiences on, this gave a new opportunity for an 'observer' role. As the two actors engaged in the processes of the task, the observer watched and wrote their responses onto a piece of paper. After, the two actors also wrote their own responses. Each condition was replayed 3 times, so that each person got a go at each role.
The written responses are all copied below. As you will see, in the first condition, there is no observer. This is because there were four people in this condition, so we didn't have an oserver, just two Blind-I's and two Touches.
Condition 1 - rooted
Blind-I
Interesting arm movememtn; complex arm positions/sequences. Bendy, lop sided, bouncing back, light, dynamic equilibruim, interesting, light, strange, felt dizzy; what on earth am I doing now? noisy breathing, waves, interpretaions, off-balance, movemet in stillness, unsure, pleasant, fabric rustling, relaxing, "Thing on a spring"; Holding the space
Touch
Locus of control; centre puppet; automaton; trust, responsiblity, caution, directing strings; Economy, swaying, mirror, sensitive, fun, frustration, gentlem movement, balance
Condition 2 - travelling
Observer
travel, finger move, traction, hard-prodding, off balance, moourous, playful/fun; flexion, statics v dynamics; flow --> point of attraction/retraction; joined, spirals; parting/complex; preparedness to touch, experimenter/focus balance; dance; thinking; noisy clothes; cautious mover; legs? measuring; footwork early on meandering and later on; stepping :) turning; damon looking confused at times? perturbed? pondering; finer/gradual changes; extra movements (too many steps)
Blind-I
Unnerving; off balance; unexpected; confused; interesting; mime-touch; confused; static or movement? 3 hands? unsure of what to do! how to interpret static or movemement; bit confused
Touch
Complex movements; mirroring; touching with various bodyparts (ooer); experimenting; balance; trying; frustration; responsible; inventive; experimental; playful
Condition 3 - dancing
Observer
Playful, dynamic, open, uplift, light floppy, jaunty (Pictures of You Pictures of Me song) play, footwork, faces, abandon in a good way ("Bewitched Carousel - dark music for creepy carnival" Lloyd Mitchell)
Blind-I
Fun funny confusing, am I doing it right? energy, playful bounce, toy
Touch
Fast, jerky, asynchronous, feeling your way , fun, fun, arhythmic, discovery
My dramatherapy supervisor has recommended I look up Laban and Gretowski. I also have a book on Authentic Movement which I feel an urge to look at when time allows. This is more dance/movement than drama strictly speaking, but given my own theory that drama is a catch all that incorporates all art form, especially the body based arts, then it can still come under dramatherapy.
However it may also be of interest to dance/movement therapists.
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