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mercredi 3 octobre 2012

Lisa Nelson - dance tech

a link to dance-tech website: http://dance-tech.tv/videos/lisa-nelson/

desciption from dance-tech:

EMBODIED TECHNE SERIES Eposide 1 An interview with dance improvisation artist, lecturer and researcher on improvisation and perception (Tunning Scores) as one of the “Embodied Techne Series”. She takes us across her experiences with dance, movement studies, psychology of perception (J.J. Gibson) and her experience with video. Conducted in New York by Marlon Barrios Solano (February 15/2008) and video editing courtesy of Ashley A. Friend. LISA NELSON is a dance-maker, improvisational performer, videographer, and collaborative artist who has been exploring the role of the senses in the performance and observation of movement since the early ’70s. Stemming from her work with video and dance in the ’70s, she developed an approach to spontaneous composition and performance she calls Tuning Scores: a communication format for ensemble performance that she presents as site-specific Observatories. She performs, teaches, and creates dances in diverse spaces on many continents, and maintains long-term collaborations with other artists, including Steve Paxton, Daniel Lepkoff, videoartist Cathy Weis, and Image Lab, a multidisciplinary research/performance ensemble. She received a NY “Bessie” Dance and Performance award in 1987 and an Alpert Award in the Arts in 2002. For 30 years, she was co-editor of Contact Quarterly, an international dance and improvisation journal, and directs Videoda, a project for videotapes of improvisational dance. She lives in the mountains of Vermont in the U.S. Video images from workshop organized by Movement Research http://www.movementresearch.org/ Thank you!

Lisa Nelson on Scores, An interview by Myriam Van Imschoot, January 26th 2003

a link to Sarma website, to listen & read the interview: http://sarma.be/oralsite/pages/Lisa_Nelson_on_Scores/

description from Myriam Van Imschoot:

Introduction This page is part of the publication “What's the Score Publication”. The interview starts with a reference to a conference, organized by Contredanse the day before, during which Lisa Nelson found herself challenged to speak in public with an instant translator at her side. What seems a sheer anecdote is in fact a jumping board into a one hour long conversation about society conventions, disappearing into norms, processes of consensus formation, invisible forms, survival and desire. Since she started interviewing Lisa Nelson in 1999, Myriam Van Imschoot has collected more than 20 hours of conversation, fascinated by Lisa Nelson's work and mind. This interview was selected from this archive.

vendredi 9 décembre 2011

"GO"

Tuning score

Within an improvisational framework, I’ve looked for communication systems that could encompass both the choreographic craft and the experience of dancing. In tuning scores, I discovered a tool to make visible the space between the arbitrary and the inevitable, an improvisational challenge for both observer and performer.

Essentially a communication format, the tools of the tuning score make apparent the ways the players sense and make sense of movement, exposing their opinions and initiating a dialogue about space, time, action, and the desire to compose experience. The movement is unknown to the performers until the moment of action. The score offers a communication system to the players, who act equally as directors, performers and spectators.
As each player tunes the image, the time, and space in order to make meaning for themselves, their opinions uncover the form as it arises and set the dance in motion.
Though the actions are not predetermined, the intention of the activity is, and the tools of the score create and challenge the specificity of every moment.

Lisa Nelson