Sad For A Year

MFA 안무 석사 공연 <Sad for a year> 는
1년동안 움직임 연구를 통해 제시한 작품으로서
이미 감정이 정해진 드라마트루지를 기반으로 한 무용작품는 반대로
슬픔의 감정으로 변화하는 몸의 상태와 변화에 관한 기록과 결과물을 60분동안 보여줍니다.

연구의 전제와 물음은 다음과 같습니다.
1. 몸과 움직임에 관한 예술활동은 전공자와 비전공자의 경계 없이 나타날 수 있다.

2. 춤을 추는 사람은 때로 슬픔을 갖고 기쁜 춤을 춘다. 또한 고전발레 레파토리의 드라마트루지 에서는 슬픔의 장면안에 무용수가 들어간다. 무용수의 현재 감정상태를 시작으로 한 무용은 어떤 형태일까. 더욱이 그것이 웃음과 기쁨이 아닌 눈물과 슬픔으로 시작된다면, '슬픔의 상태' 에서 몸은 어떤 움직임으로 나타날까. 

Sad for a year is MFA thesis performance at University of Roehampton, London.

I takes place from a question, 'what would happend if body generate its emotional status, especially when it's sad, which is helpless and unmovable. 

Methods and Movement scores

Methods

 While Suzi and I were trying to share each other’s sadness, the first thing I found was that sadness is like two people standing side by side look at the same spot; It is never able to look at the same aspect. Also, approaching to sadness itself was hard because that emotion always brings other symptoms and status before and after with it such as depression, tears out and so on. Therefore, in terms of methods and scores, I decided to focus on analysing individual’s sadness based on a couple of list about what is our sadness and where is came from in our own experience. Suzi and I spent time mostly by finding out the sadness in our text which was quite messed with a mixture of similar feelings such as being angry and frustration in the beginning.

Movement Scores

1.      Name: Working with text, especially when the text is about oneself, gave us quite nice movement scores; It was our name which represents our history and life. In Linda Montano’s book ‘Performance artists talking in the eighties (Montano, 2000)’, Montano said that adult artists’ decision making in their artwork were influenced by their childhood memories.

“Montano’s continuous return to nearly forgotten and repressed childhood memories is an effort to construct….. That purpose is to prompt the verbally resistant underside of performance art to make explicit links between art and life (Montano, 2000)”

 Suzi and I also had a lot of time sharing our childhood memories and they affected us in the present as a choreographer and as a person who wants to study dance. Through out Montano’s book and our memory sharing, I could not categorise like Montano but found that an individual’s name itself represents the person who had been experiencing a number of emotional statuses.  Therefore, Suzi and I began to move by embodying our name start from a simple score such as embodying Korean, Chines, and English letters with bodies.

2.    Bringing from mundane routine: Unlike me who majored in dance for a long time and is comfortable with a dance studio, training clothing and embodying my name with own interpretations and imaginations, Suzi was lost in the first score I chose. With Professor Emilyn’s advise that thinking about Suzi who has no experience in dance, I tried to set up some comfortable and natural environment for Suzi to be able to move without any pressure about moving which is very unnatural for her past experiences and routines. I asked her to wear what she always wear in the work and leisure time and to share me her making a black coffee at the Starbucks where she’s working. It was a great starting point to be developed by Suzi.

3.    The alphabets: The last Autumn, Erica brought to MFA people an interesting movement scores. It was from Trisha Brown’s score of embodying with alphabets. This activity with Suzi was very helpful for us to have playful sources to develop.

More process on research archives page : http://danceunji.tumblr.com