We were greatly influenced and inspired by Rosemary Lee who often explores human relationships and the boundaries between the audience and performer within her performances, this can be seen in her hybrid performance The suchness of Heni and Eddie which explores and exposes the different creative process that is involved when creating a performance.
We felt particular inspired by the intimacy and fruitful accidents which were revealed within this performance. These beautiful moments full of real emotions would have been erased or overlooked in a more traditional performance setting. It was this boundary and the revealing of the interdependency between two performers that we aimed to explore further. We explored a variety of different tasks that would evoke interdependency between two performers and one of the successful explorations we have found was a task were two participants had to attempt to form the same word together whilst also performing the same movement. This gained us a lot of insight into how much a person relies on his/hers partner whilst performing a duet. We also discovered that we would overplay this dependency on the other performer in traditional performance settings. With this task we have also found similar explorations outcomes and interests to Rosemary Lee found within her piece The Suchness of Heni and Eddie. Lee highlighted in an interview with Niki Pollard that she was particularly interested in the struggle which happens when dancers try to achieve a given tasks; she said: “because it is evocative to me of the struggle we experience with partners in our own lives.”
We were lucky to have witnessed moments of this struggle which evoke powerful and beautiful moments that put us on the direct path also discovered by Rosmary Lee, she states in the same interview with Pollard; “I want the dancers to keep working at this edge. My dilemma is to compose work that can also be “raw” and “unpolished”. Do dancers inevitably sometimes fake rawness?” We have found ourselves exploring the exact same questions whilst exploring our research question during our choreographic lab time.
We were able to find some answers to this question within our own explorations, which suggest that a dancer does sometimes intentionally fake rawness for the sole purpose of entertainment and performing. We can also say that the nature of these explorations can never be fully replicated, because after all, these dependent entirely on circumstances which evolved around time, space and different personalities of the participants. However due to the shortness of this project we would like to explore the findings of this exploration further to reach a more structured conclusion.
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