The Triptychs didn’t listen to their recordings immediately. On the contrary, on Wednesday, 11th July they were invited by Ginelle to reflect upon the experience and try to remember those sounds.
They worked following these three stages.
1 try to remember the soundwalk and transfer it into movement individually
2 re-live that experience by taking the space into account
3 teach a selection of that movement material to the other two choreographers.
The last stage makes the transfer issue arise. Which methods do you use to transfer the movement material? How similar should it be to your own movement? This is a moment when the choreographers’ different approaches come to a dialogue. Marco: “My method is creating little boxes, frames where I give instructions, and the dancers can create their score starting from there”. “In this moment I am interested in what we mean by presence and being present, in the sense of being here and now, and the methods I can give a dancer to grab what he/she’s doing, how that can make sense for them. This is connected to what I learned working with Alessandro Sciarroni: he quotes Marina Abramovic, who states that the present is the last tense we’ll ever have, which is not the past and not the future”.
The subject of presence inspires one more issue for Ziyian and Peter: the idea of being present is somehow intertwined with the one of autenticity.