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Écrit par EricTenier
Mardi, 11 Novembre 2008 15:28

Histoire

Nijinski_sautNijinski ...  Le dernier Saut ?
La nature de la danse à travers les âges et les formes
Photo d'écran- Beaubourg - références du film à trouver...
Il était vieux, dépressif, le corps lourd, ailleurs On le sort de sa clinique à petits pas et le met dans un  studio de danse.
Serge Lifar lui danse l'Après-Midi d'un Faune - il n'a pas même un regard. On place sa chaise au centre de l'espace et le danseur martèle, harcèle, éblouit. Alors très lentement il se lève, le regard s'illumine et il fait un saut, ce saut, d'une légèreté étonnante.
Sa matière physique bétonnée, contrepoids de son esprit atomisé, est traversée  par cet ultime et foudroyant instinct de survie issu de la nuit des temps - la danse.

Sapiens ?

Faire et se défaire de cet homo trop sapiens, à la verticale encore à l'état d'ébauche, avec une tête déjà si lourde,(cf les hernies, sciatiques et compagnie, notre colonne étant mécaniquement toujours beaucoup plus à l'aise à l'horizontale).
J'ai entendu un paléontologue dire que la tête de l'homme allait encore grossir...
Je nous vois avec nos têtes , dans la rue,
comme des acrobates qui cherchent à faire tenir une assiette en équilibre au bout d'un bâton sec.
Les plus habiles, les malins, les gauches, etc...
L'improvisation commence, et le spectacle tient sa première scène

Hiver

freiburg1Latence
Couver les œuvres à venir
Incorporer délicatement le blanc du « rien » au jus des idées noires
que l’on a, au préalable, fait réduire à petit feu.
Passer  ensuite à four doux en surveillant du coin de l’œil.
Le temps de cuisson étant incalculable, s’installer le plus confortablement possible.

Rêve de Miles D

J’ai grimpé sur une sorte de bureau, pour accrocher un rideau rouge devant la fenêtre.
Miles Davis est là.
Il est vieux, mal fringué, à l’Européenne : une veste de costume froissé, un tee-shirt blanc, un vieux pantalon.
Il est en pleine forme.
Il me propose son dos, comme toboggan pour descendre, ce que je fais souvent pour mon fils.
J’accepte avec plaisir, glisse et me retrouve sur mes pieds
Nous savons qu’il est mort, ça ne nous empêche pas d’être bien contents de se voir.
Il me dit en riant et en me montrant une longue règle de maçon au sol, à droite:
« La règle est là, et toi tu improvises.
Ne t’en préoccupes pas, elle est là, c’est un fait incontournable.
Tu es libre totalement. »
Je caresse son  ventre soyeux et très ridé, ça le chatouille, il rit comme un enfant.
On est heureux.
Quelle leçon!

Contact

Break the flow
Simultaneity or choises we make through dance between interior space (my body) and exterior space (other people, all around us) : the role of the vision in this process.
The happyness to refuse my partner's intention staying in contact.
Focus on the body structure of my partner more than mine
"Body Brain Storming ©" : My mind is in a specific function when I talk and dance in a same time:  I feel me smarter and you?

PARISVIII

Conference Paris 8  « Conscious body meeting » 6-7 Octobre 2012
- When and how  appears the trigger from moving to dancing ?
THE TRIGGER is the feeling of the “right time” when, like in Alice’s in wonderland, we change worlds. We reach an area where the only thing you have to do is to follow and no longer “to find your way”. The story builds itself up and asks us to be wise enough to follow it. Then, more or less easy but rather joyful fittings follow between the fountain of ideas and the other dancers, performers: their triggers, their personalities, and their tracksuits … our usual deliriums and …
One of a lot ot possibilities to reach this « wonderland » » is the concentration on the functional body networks
In order to share this knowledge I base my work on :
-An acurate work on body mechanics and energetical connections, going from deep concentration to musing. Without forcing, you let freely go the fact that serious events can fruitfully alternate with « no matter what », in agreement with Kandinsky who said that « the no matter what is a value ». A tension is created maybe between left and right brain ( ?)
This process can help to let artistic expression gradually issue from all the functional body networks. In other words, you go to a physical landscape first defined by an analytic knowledge, and when you reach it you live in. What I call « déclic » (trigger) is this moment of passing through. From this point, the trip becomes an artistic relationship between inside and outside us.
-A training to specific qualities of hands and look as prefered mediators of « in-out » passage, then make the whole body enjoy the refinement of these perceptions.
-An experiment on composition initially fed by individual and collective mood that I can perceive and from which I derive some simple propositions which will transform in « instinctive choreography ».
These approach works are my way to develop an imaginative presence in the fiels of artistic relashionship.
Why and how hands are mediators between brain and center of gravity - thought and physicality ?
It was while studying cranio-sacral osteopathy, in continuation of Contact Improvisation, that I find out some useful tracks. To revise my classes, in a dance studio, I used to visualise the motions of my own bones and try at the same time to train my hands to understand the motions. The skull bones are in relationship with the pelvic bones, and my hands were mediators.
This physical play of theory perception resulted in dances: stiff places of my body suggested quite inventive movements to slip into the action. Then a new type of imagination emerged, issued from the body matter. I was able to short-circuit my habits. I had previously studied and practiced various types of movement analysis, but it was the first time I frankly enjoy that. With my new working pattern, space around became like a huge touchable body, with changing density and geometry, and of which others dancers  and musician can be part.
I don’t no, when touching people as therapist, comments with images about the cranial movements I can feel, connect with some truth of their life story (or real life experience)?
At the end of a treatment, a patient asked me what I felt about her.
I answer with images closer to what I felt in terms of geometric and matter: a strong line from one ear to the other, like a tiara, hurting a little because very rigid, like a law under which a princess is obliged to comply.
We were very surprise because his father called her Sissi when she was young, he was a judge and she receive a very rigid education....
Conclusion
Perception as action ?
Passing from system 1 to system 2,
and opening the space for system 3 ?
imagery as a communication between us ?
Mis à jour ( Dimanche, 15 Novembre 2015 23:37 )