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Body listening. Part 2

Author: David Pledger; Lydia Teychenne; Not Yet It's Difficult,
Publisher: Melbourne, Victoria : Contemporary Arts Media, 2012.
Edition/Format:   eVideo : Clipart/images/graphics : English
Summary:
Developed by David Pledger, Artistic Director of Australian performance company 'not yet it's difficult' (NYID), the workshop video takes the viewer through exercises that form the basis of the methodology of body listening. Joined on the floor with actors, dancers and musicians from NYID and the Korean company, Wuturi, the video is the first recording of a process which has been delivered around the world from  Read more...
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Details

Genre/Form: Filmed interviews
Material Type: Clipart/images/graphics, Internet resource, Videorecording
Document Type: Internet Resource, Computer File, Visual material
All Authors / Contributors: David Pledger; Lydia Teychenne; Not Yet It's Difficult,
OCLC Number: 1035411098
Language Note: In English.
Notes: Title from resource description page (viewed April 27, 2018).
Performer(s): David Pledger, interviewee.
Event notes: Filmed at the North Melbourne Town Hall, Arts House 2012.
Description: 1 online resource (30 minutes)
Other Titles: Interview with David Pledger
Responsibility: director, David Pledger ; producer, Lydia Teychenne.

Abstract:

Developed by David Pledger, Artistic Director of Australian performance company 'not yet it's difficult' (NYID), the workshop video takes the viewer through exercises that form the basis of the methodology of body listening. Joined on the floor with actors, dancers and musicians from NYID and the Korean company, Wuturi, the video is the first recording of a process which has been delivered around the world from Shanghai to Berlin, Seoul to Dublin, Melbourne to Liverpool. Body Listening is a process which prepares the body to register and process spatial and performative awareness. At its core is the notion that the body is a discriminating organism able to send and receive physical information; it explores the body's relationship to performing spaces and to other bodies and develops movement and vocal patterns in relation to refining the performer-presence in the space. As such, it locates the performing body in a spatial-aesthetic construction where bodies are not neutral and their physiological presence is explored. Body Listening arose out of a desire to understand the inner mechanics of the body's transmission and reception of intention. Its originating contexts are team sports, geography and landscape, live engagements between performers, and between performers and audience. For example, a seminal dualism exists in the relationship between live performance and Australian Rules football, or more precisely, any team sport that requires its players to function on a 360 degree physical sensibility. Utilizing the idea that performance on a stage is not so different to performance in a sports arena, body listening requires of the 'player' an uncanny ability to know where one's ensemble or team members are at any given time. The performance stream of the work of 'not yet it's difficult' (NYID) is characterized by an emphasis on ensemble work which is, in part, due to training company performers in the protocols of body listening.

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Linked Data


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