Dancer | Choreographer
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Events - past & upcoming
Events - past & upcoming
Formats for working | Pliable form
On Modules, Scoring the unanticipated, Pliable form,
Formats for working | Pliable form
On Modules, Scoring the unanticipated, Pliable form,
Formats for working | Pliable form
On Modules, Scoring the unanticipated, Pliable form,
Formats for working | Pliable form
On Modules, Scoring the unanticipated, Pliable form,
Formats for working | Pliable form
On Modules, Scoring the unanticipated, Pliable form,
LISA COLETTE BYSHEIM
The starting point for this project was to examine the relationship between speech and movement. Often when I watched dance performances where text was involved, the text explained the narrative or meaning in a performative work. My attempt with this project was to decentre the hierarchy that speech often had over movement. I wanted to explore how a text produced meaning without it be understood as a linear narrative. My interest lay in exploring the co-dependence of words and movement; challenging how they were understood in relation to each other. I aimed to disrupt and transform the meanings and associations that words and movement created. This was explored through playful and chaotic tasks working with the body, movement, microphone wires, sound and text.
“Text relates to texture and textile and traces back to texo – to weave, referring to the way words and sentences are woven together. We speak of weaving a tale or spinning a yarn. A subtle idea is a finely spun one.” — Debika Lahiri (2015)
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I find that Debika Lahiri’s claim visualises how my work found its form. As the project developed I realised my interests lay in opening up for meaning to be generated in the experience of the viewer; how fragments of text, movement, sound frequencies could be read in multilinear ways. I attempted to integrate movement and the open text, to challenge form and composition by weaving an intertextual web of references together. My interest was to create a performance consisting of multiple connections woven together, creating potential openings for interpretation— not reducing them to one form or linear meaning.
I consider the performance as an intertextual web of references that arise in the encounters between language and movement —interacting equally and connecting non-sequentially. The audience is free to make their own choices in their reading, continually shifting and being an active reader, which resonates with Roland Barthes concept of the writerly text (Barthes & Balzac, 1974) and Derrida´s approach to decentering (Derrida, 1998).
