Dancers – part 3

Dancers – part 3

We started with full-length run-trough of the usual framework:

We were growing tired of our usual framework, so we decided to try something completely different and “free”:

To do this didn’t feel any harder than working with the usual framework, since within the framework we had been working more on the concept than on the “composition”.

We agreed on that we had reached a state where we temporarily are agreeing on the expression of the concept and should for a while just improvise together without any specific tasks to solve.

We somehow feel that what we do is natural, whatever that would mean.

When we throw away the framework, we get more clear in the head and are willing to test new ideas and push them even further.

Knowing we have established a platform for us to fall back on if something doesn’t work out is also extremely motivational for going further away from what we have previously done.


0:00 – Starting is hard and might sound insecure.

0:30 – Too linear.

1:00 – She keeps her moves even though I stop, good.

1:45 – She decides to go somewhere else.

1:50 – I decide to tag along.

2:26 – Anette covers her ears, I find this quite interesting, since then she draws a line between the two aspects, and you might realize that you have seen them as one … This also triggers me to take some more space, and “solo”.

3:05 – Anette keeps her idea even though I stop, this shows that we stand as equals.

3:45 – “back to start”, I like this … “red line”.

4:15 – Anette takes the lead, and I’m just creating a space for her. I like that her rhythm and intentions are so clear.

4:36 – The sound that Anette makes against the floor is an interesting aspect since I felt that it somehow triggered me to do something else.

4:45 – I feel that Anette gives away all the focus to the music, since it’s obvious she is listening.

5:34 – As her feet start to move, she presents the entrance to a new space. I feel it’s clear that something new is about to happen.

6:40 – The sounds Anette make are really having an impact on the auditive aspect.

7:14 – That scale thing sounds really bad.

7:19 – Anette fills out the static drone with intense rhythms, I feel we complement each other here.

7:32 – As soon as I start getting more busy, she calms down, keeping the contrast.

7:50 – It looks like I’m ready to get some impulses from Anette, but apparently, she is somewhere else.

8:05 – I feel this part is quite diffuse, it doesn’t point in any direction, too stagnant.

8:22 – Anette takes responsibility – New room, new energy.

8:54 – New room escalated and stopped too fast, I liked that room, should have taken more time to explore it.

9:18 – I find it quite unclear what Anette wants to communicate with her face-touching. If I remember correctly I thing she mentioned it as a focus glitch and “just had to repeat it to make it not seem like one”.

9:36 – I feel that Anette wants somewhere more aggressive. She is tired of my slow evolving sounds.

10:00 – I start to follow her on that. We play together in the same energy.

11:21 – Anette wants to go somewhere else, but I want to stay, creates a contrast and gives more focus to the music.

11:30 – She joins me again.

12:08 – 12:12 – I like that we suddenly can be in sync for a while and then step back out of it again.

12:24 – Yeah! Since my sequence is quite random, when it syncs up with the dancer, it get even more effect full.

12:25 – Calming down.

12:31 – The concept of integrating theater must be looked into, I feel it gives a nice touch to the performance when it’s done in as small doses as this.

12:47 – I decide to take more space.

12:54 – Anette gets my intentions and we build it up together, I feel we’re in sync here, in a good way, and our accents fall at the same places (13:04-13:31).

13:31 – Anette keeps on going. We have been talking about being independent, and it’s starting to show.

13:45 – I take over, and Anette gives me all the focus and we establish a “trading concept” like “call and response”. Maybe Anette could have covered her ears to give more focus to the music instead of fixing her hair? Hehe, very well …

14:01 – 14:06 – I don’t like this gap, and that it mainly is my fault, I should have kept on going until Anette released me if we were to keep the “call and response” idea we had entered, but from this experience I might think that one or two times is enough, if it occurs for a longer time than that, it might seem we have locked us self’s too tight. That will of course depend on the context.

14:47 – Anette takes the initiative to something new. A nice reaction to what just happened if you ask me.

15:10 – Suddenly a new room, fast reaction.

15:50 – A clear ending.


After around 7 minutes, I feel things started to establish quite well, we had good communication and we clearly stood as two individuals.

An interesting aspect is that now, when we didn’t use the framework we used to, the interaction seems faster and also the impulses and the overall rhythm in the performance seems to have seeded up. I like this.

Yet, the beginning seemed insecure since we didn’t have the starting point we were used to, and we needed some minutes to tune into each other.

Even though I liked this, we didn’t want to afford our first public performance to start bad and might not evolve anywhere because of all the unknown factors. So we decided to start in the usual position with the usual sound.

One aspect that concerned us this day was the lighting in the room. We felt that with a dim or warmer light, it was easier to be calm and patient with our ideas, and it was easier to “step into another world”, focus and open the flow of creativity. And we decided to rehears with the lights on at the next rehearsal and rather be blessed with its dim properties in a concert setting, in other words make it harder for us when rehearsing.


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