Caught by surpise

Caught by surprise that rendering the practice means 

that it will travel through and to new worlds

 

Now we work with our edges

Shedding them in relationship

Nervous systems align if we listen and let them 

[Playfulness is still key]

Imagine I am drawing some 

lines here - on the spot where you 

read this italic bit of writing - the lines look like 

symbols  for  two people

Bird's eye view

And this imagined drawing takes you over into some thoughts about my edges in this process

Serena: I remember these moments - you know - when I rolled over to you - that one 

Franzi: Or when I pulled up my skirt to my throat because I got scared of intimacy - of looking into your eyes - revealing something...

Or in general the feeling before a practice, of walking into the space together...not knowing what will be revealed...these states are edges of intimacy accidentally encountered in the practice of sounding sensations.  

How 

do 

these

feeling states, 

remembered or developed  yesterday  unfold choreographically?

• I took permission to follow my body instantly; the process of considering an action imaginative becomes something that already happens in the moment; the brainy, thinking gap between desire and action becomes an active leap of movement/sound that your body does to relate in/with [...]. That's where I meet my edges. There is always a choice how to navigate alongside, through or around edges. And there is always information from my nervous system, that is a support structure appearing as feeling states that holds the knowledge to choreographically/aesthetically steer the action in the moment. I can trust this. This is crucial to stay in the context of the work and the performance making process.The space holds the choreographic environment and this informs how we relate to the audience. 
• Intimacy... working with these bodies as scored, as humans, as trained dancers, as otherwise trained and skilled practitioners is scary because the body holds the knowledge. Choreographically this seems to be key so that the practice of sounding sensations, that we've cultivated transcends into a performance >>> the practice reveals the work through moments that we remember.