Real Time Composition
The method of Real Time Composition has been developed and systematized by João Fiadeiro since 1995. Its main framework originally came from the need to create a system of composition that could be shared by his collaborators during creative processes. It then developed as a tool to explore modalities of dramaturgic writing within the dance field, and is currently studied, developed and used by several artists and researchers alike. Since 2005, the method of Real time Composition has been used as a means of placing the territory of research in the wider dance context focusing on the concepts of “decision” and “representation” and broadening that understanding to encompass multi- disciplinary practice. The method has been strongly influenced by recent advances carried out within scientific fields such as neurobiology, computer sciences, philosophy of language, cognitive linguistics amongst others.
Www.joaofiadeiro.blog.spot.com
It's about being detached from thinking and creat the structure in creative process.
Metacognition - multiple choice of possibilities of actions
Edge of collapse- being aware of loosing, sth can end and we have to start once again.
For instance I've made for 2 hours notes and in one second I lost all by pressing the 'delete' button. So I started again.
All artists must be always ready to take challange and start it again.
We need to come out of the fear of future to be able to create freely. We can change paradigmat to accept a new place.
'We miss what we are not looking for'
'we fear of edge of collapse' - no expectation of the future. Acceptance of the real time creation.
How to read an event?
We should avoid the third people patterns repetitions.
We should be looking for unknown-go out of the comfort zone. Let habits and fears go. Detouch from obvious things.
'How to be an image but not represent it'-we have to avoid representations.
Loop-paradigmat
How to distanse from the image /content expectation? Detouch from the strong feelings of predjudice and presumption. We should not represent what to do but do our action independently from the image.
We can only see the real things if we let go other thoughts comected to it in our mind. We have to go out of box in order to see easy solutions.
Firstly we must construct the comen direction and then work with it.
Phisical saturation point-loop is reason to change, the end of sth.
We can change paradigmat and then come back to the previouse action.
Ken Robinson
Abramovich
The immediate idea
Read the situation
Hypothesis of possibilities
Competition
When, how,where
This is such an obvious though of using our brain in commen way. We tend to overanalise the meaning of action so we loose the intuitive capabilities of finding the sympliest solutions. We have to understand that we are the actors on stage, nobody would belove in our real emotions.
'Follow the pattern without going into loop'
Bringing to presence which is the past or future
When you change paradigmat it's difficult to come back again.
Only central and not perifical vision. We should always stick to the pattern and build up from there. Once the pattern has been made the only question is the future whatelse it's going to happen.
Change blindness - seeing different patern withouth denying it.
Get out of the tube-solving the problem.
Piece-the centre-the though
DANCE discussion panel's participants:
Dance4,
Brussels -dance theatre, rosas, sring dance
Austria, dance works
Choreographer, academic researcher,
Freelance dance writter (guardian)
Sue-Sivan Davis - insight experiencing movement, choreographer, artistic director.
'Gustavia'
'You can create the dance house if you keep walking the dance lines' (Aborigines)-it's about time.
Sanjoy@lineone.net
The dance writter. Email him the info about Brockley max festival and LCP Piece.
Siobhan Davis : 'she places her work as a vital force within the dance and dance as a vital force within the arts'
Www.museedeladanse.org
