A 10 day theatre language research process.
(re-Documenting as a way of summarising and processing)
Participants: paarvathi om, subhashree parthasarathy, and Ganeshram
Supported by: Irumbai, CPA 2024 process, Mala, Kangaroo, Mel, six puppies,Sudan, Bharath, Dilselda, Vaasi Pinnal, Shimmi, Rajiv and all others connected to Aashiyana
In : Asshiyana, Auroville
Dates: 8th Nov to 18th Nov ‘2024
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There are many speakers in this world. Those who walk are rare. The walkers remain silent. - Ganga Ma, Thiruvannamalai
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Frame work of inspiration and intent.
How does the process of Self Enquiry translate into process of theatre making?
How can inspirations from the archiving and tech-led digitisation world inform real-world experiential engagements with nature, connection, memory and peace?
Can we find a language that serves our need for freedom? And form a framework for daily practice?
Loose points present in the space/time
Archiving collectives
Labyrinths
Memories of mother/s
Pattern collapse/ hacks
Rewilding land post construction -process
Edible greens
Peace. And palestine Conflict
Separation and solitude
Suffering of the body- mind from ill health and attachment
Walk. Feet. Everyday patterns of women. Room of ones own
Subtle tyranny of male-ambition led institutions and structures…and reclamation of absolute love and sovereignty
Embodying doubt (authentically) as the starting point of trust.
Principles of Vipassana - pure observation
Language making and landscape
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Highlights
No assumption. Find everything from scratch
Establishing connection to field by a player- with open awareness and using a primary and secondary form (movement/music/words etc)
Recognising elements of a container, depending on means engaged by players present to remain connected to the field.
Transparency of the container. By remaining aware of pulls on one ones gaze / distractions / remaining as authentic as possible - declaring ones intention as truly as possible
Body as listening vehicle
Trust space. To reveal, hold and guide.
Practice and power of witnessing without grabbing while on the floor as player, and as audience/observer. To allow for an empty bed without projections - for transformation of ideas/energies. Basic ethic.
Expanding the freedom for the body to reveal the messages held in space
Observation of nature turning into prayer/ ritual - sketch, words, music / poetry and dance
Acknowledging the presence of all that is there in the space by privileging textural listening sense of the body over the hyper-dominant mental-visual impulses that seek and suggest instant meaning making
Engaging with the idea of appropriation to steer clear of ready made performance tools of physical/body led cultures, and commit to the process of finding what is true to ones own landscape and time
Nuancing layers of observation - 1. Visual. And visual replication. 2. Embodied observation - deep listening 3. Becoming part of the field - Witnessing without any grab
Arriving at the phrase “it works” to mean - are we experiencing a connection to the field or not - have we managed to weave a container. And not about how good does it look or sound.
Does a story go into the container or emerge from the container? - a known one / an unknown / improvised reflection / combination
Qualities - of 1. Trust 2. Care 3. Witnessing without grab - as ingredients to a transformative experience
Staying true to the poet’s heart
The texture of a word, while staying connected to the field using musicality and rhythm, revealing the phrases and ideas in the field. And playing together into the field - forming container.
When in doubt go back to deep neutral natural observation
Connecting legs and voice during voice improvisations - listen from the legs
Segueing into the Vaasi Pinnal workshop by Devamani and Chandiran - exploring the energy meridians, geometry of the body (mama science) while deep listening - as a basis of healing, movement sequences, inspiration for choreographies.
Breath and sounds and internal awareness of energy junctions as a way to awaken/open/release them. An entire language waiting to be explored.
Walking the periphery of the Circle as the form to container and renter the journey of the multiple repeated improvisation experience. Reconnect with what is remaining in the space.
Trusting the space as the first step to remain connected to the textures and the revelations of the body, while having fun. Audience also has fun, is engaged.
Honouring the need to remain authentic by claiming a pause while in the space.
Pausing and being ok pausing is declaring a blank / confusion - and choosing the need for authenticity and clarity over the need to please / deliver/ honour the performer identity
Keep nuancing the elements present in impulse while in the field - visual mental / textural spatial / sound / idea etc
Surprises
Learning through teaching. Helping Sudan learn English by helping him share his knowledge and experience of the natural world with us in English
“ I trust theatre to heal/ reveal. Show me the way”
“ Gratitude to the body for bearing the spirit”
Massage and touch as way of practicing connection to field and neutral gaze
One’s medium is the path - to trust it to give us the answers to question of who am I? And to take care of oneself when on the path and the process.
Appearance and merging of elements during improvisation
Irumbai tree/pond and AnaPana as a grounder
Genesis of the project : Archive of Dreams - memory of compelling dreamscapes experienced by two women as the starting point of work. Pondering the times, its dreams and the fresh storytelling.
Improvisations
Gesture/ word improvisations
Nature - leaf drawing
Natural texture - peacock feather
Women’s feet and gait and surfaces
Walk improvisation
“Ka” improvisations
“Nga”/ nasal improvisations
Kalari vandanam sequence and reversal improv
Hare and tortoise improv
Shape improvisation - flower
Dream improvisations
Questions:
Appropriation - what is the difference between inspiration and appropriation? Embodying. Journeying and connection to ones own landscapes as source - speaking ones lived truth - has something to do with it?
Intersection of practice and daily life?
How to keep up the practice of- look without grab
How can the audience consciously co-create a field of observation? Nuance the observation for the audience. presence of plant / object/ tangible help?
Does a story go into the container or emerge from the container? - a known one / an unknown / improvised reflection / combination **
Explore putting moods, like the base layers used by a painter, into the container
The presence of other “ “ people watching - what does the mover need to maintain the unbroken connection to field?
How does Devamani-Chandiran’s Vaasi Pinnal study weave into theatre?
Keep clarifying and nuancing the elements present in impulse while in the field - visual mental / textural spatial / sound / idea etc - and in daily life
What happens when two bodies enter the field?
How does the artist sustain? - choosing not to entertain this question in the field at this stage - as an expression of surrender and trust
Conversation about creating original work in the medium most familiar- shuba - voice. paarvathi - words. Finding what resource and support one needs for it…and create the environment for its thriving. Big question of - what holds one back from doing it? What stops Shubha from making original music? Or paarvathi from making theatre?