Inspiration and Feedback

 Blog 7: Inspiration and Feedback

When creating choreography, I feel it's always important to look for inspiration from other practitioners. For our piece, I felt particularly inspired by Crystal Pite's 'Betroffenheit'. The piece is a deep and meaningful one about trauma but includes quirky and abstract methods such as fun and exciting costumes, something you wouldn't expect to see in a piece like this. (Betroffenheit - Kidd Pivot, 2021) We sourced Pite for inspiration within the section of our elevator scene. Our stimulus is similar to Pite's as it is about a traumatic event and is very sincere and deep so found that her methods would work well in our piece. Within the elevator scene, we decided to use quirky 'elevator music' which is sometimes used and usually is something upbeat. We decided to add a movement that has no technical ability and could be seen more as a 'silly' movement. This is to add a lighthearted and comedic charm to this section, in quite a contrast to the stimulus. I feel that the quirky and abstractness changed the dynamic of our choreography and highlighted how significant the impact 9/11 has had on the world.
Betroffenheit - Electric Company Theatre
(Betroffenheit - Electric Company Theatre, 2021)

I believe we were successful by using this source of inspiration as it allowed us to think of the everyday scenario of getting a lift to work in a less heavy-hearted and serious manner. In real life, this action would be taken lightly so I like that we have incorporated this into our choreography. The feedback given for this included keeping the movement slightly toned down and exaggerating it less. I agree with the feedback as whenever I have been in a lift, although sometimes I want to do quirky movements I've never actually carried this out so doing it less intense means that we are portraying the way the music makes me want to dance. This helped us to enhance our choreography as it made it more realistic and accurate. 

The next steps within the piece include refinement within transitions between sections as this is an area we have not yet visited. Without this, the choreography is quite bitty and doesn't flow which feels rather unnatural. We need to find ways and techniques to integrate each section and intercross the motifs behind them. We could do this by learning a count of 8 from the section before or after and adapting it so that the person can travel on/off stage effectively. This way, transitions will be seemless. 

Bibliography:
Kidd Pivot. 2021. Betroffenheit - Kidd Pivot. [online] Available at: <https://kiddpivot.org/works/betroffenheit/> [Accessed 13 December 2021].

Electric Company Theatre. 2021. Betroffenheit - Electric Company Theatre. [online] Available at: <https://www.electriccompanytheatre.com/show/betroffenheit/> [Accessed 13 December 2021].


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