Limbs limbs flailing thrown direction changed and landed rhythmic discovery bolt hair tossed back fleshy chance repeated and dive down sex breath of new hit hit topless look around argh help me grabbed bag of bones point on a pin head specific point hips everything’s in a circle unexpected hand plant in or out waiting moment gone looking at her decide enter jumping around whoa-body hard this is work laughing scream pull down scratch and bleed accidentally wait again throw slap arm behind his back different approach torso thick head and hair splits yes and again simulated scared expression and beanstalk swinging and spin painted image finale going up mind foot skip the connection

 

confusion is a participatory action you have to participate in your own non-understanding to access the space of confusion the mind races around landing here taking off again and landing on the opposite side trying to making sense of the disorder trying to find a new kind of order trying not necessarily achieving trying Jo Lloyd emphasises the word before her studio showing on Thursday

Jo Lloyd Rebecca Jensen Shian Law working in real time with the proposition of confusion how this manifests both physically and spatially how do you structure confusion how do you work inside it without denying its essence of unknowability

 

one thing that always fascinates me is when I encounter a piece of work and I can’t understand exactly how it was made the process of its research making itself apparent in the bodies of the performers is unfamiliar I can’t recognise its mode of construction

 

I imagine the conversations that must have taken place between the three in the studio how after each time they work together physically probably with improvised structures they must have had to talk it out articulate what happened make things clear out of the mess of bodies then make assessments on how to take the next step what movement should be learnt when the trio should find unison an expected part of choreographic process a means to eliminate confusion and find clarity

 

never letting choreographic control fully impose itself on the performative situation the parameters have been set just tight enough for the explosive chaotic bouncing around inside the framework without ever getting completely lost in a void the performers are assured not at a loss to how to perform the thing not really confused confusion has been transplanted out of the mind and made spatial confusion as a material like a stretch of fabric a landscape to explore a problem to only work towards solving

 

why is this so attractive the immediacy between the audience and the performers both sharing the experience of ‘working it out’ accepting that the pleasure is in ‘working it out’ together accepting the pleasurable anxiety the destabilising of our need to know and control arriving somewhere will be the end of the electric tension so why not just enjoy the electricity.

Confusion for Three, Jo Lloyd

24/03/2015 Dance Massive Writers Workshop

Creative Development Residency
Confusion for Three, Jo Lloyd

As part of Dance Massive 2015
Malthouse Theatre

 

This text has been produced as an outcome of the ‘To Write: Dance Massive Writing Workshop’ that was held on 1 March. As part of this workshop participants discussed approaches to writing about dance, notions of voice and audience, issues of value and function, and strategies of engagement and reflection. Throughout the Festival texts made in response to works in the Dance Massive program by the workshop participants will be published online at the Dance Massive website.

 

For more Writer's Workshop texts:

This text has been produced as an outcome of the ‘To Write: Dance Massive Writing Workshop’ that was held on 1 March. As part of this workshop participants discussed approaches to writing about dance, notions of voice and audience, issues of value and function, and strategies of engagement and reflection. Throughout the Festival texts made in response to works in the Dance Massive program by the workshop participants will be published online at the Dance Massive website.

 

For more Writers Workshop texts:

 

 

Copyright Rennie McDougall 2015