Renee Copraij and James Beckett - Efficiency Complex Workshop
Renee is a dancer/performance artist and James is a fine artist. The workshop, organised by performance artist Tino Sehgal aimed to challenge the ways movement can become fixed physical forms and vice versa. We had a series of lectures on the theories of movement which highlighted tracking the pathways of light through early photography. Similar to the photo above, we formed wire pathways based on gesture from the starting point of a table the object was placed on to the ending point of the table the object was placed. The wire took the shape of the journey of the object in connection to the index finger which was marked with red tape. These were then used as movement pathways we could explore with other parts of our body instead of just our finger. For example, how would my left leg follow the same pattern?
We also delved into the significance of movement in the workplace during the first World War and how Rudolf Laban's movement theory which was largely based around a written code/language (labanotation) that mathemetised the construction of movement as well as allowing the analysis and reflection on the efficiency of pre-existing movements and gestures. His work had a large impact on the efficiency of workers in factories and he implemented ways the body could do more work, produce more objects, with less effort made and less fatigue as a result. Labanotation is still used today but is incredibly difficult to pick up however, Laban's movement theories took a similar pattern in their attempt to document movement as we did with the wire.
To end the weekend, we were split into groups and asked to create short performances based on everything that we had learnt that weekend. In a pair, we created a short piece where at front-stage left, I was exploring different parts of the kinosphere in slow motion moving through the different planes - lateral, saggital and diagonal. As I was doing this without moving from my point on stage, she aimed to sculpt the changes in position of my arms and torso and movement between into larger garden wire from a bundle at back-stage right. We wanted to see if she could keep up with the movement and to show how much there is to be documented in one simple movement. The result was me performing very slowly and calmly, contrasted with her frantically trying to bend the wire from an already messy bundly as fast as she could. It had a very comical effect and proved how complex movement is which can sometimes be overlooked.