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    0010 All That Jazz

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    Methuen Drama
    The document discusses an exercise to refine energy and remove intentionality by having people move in space and make or break contact with others. Participants learn about relationships, personal space, and welcoming or excluding people from their space through this exercise.

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    0010 All That Jazz

    Uploaded by

    Methuen Drama
    21 views1 page
    The document discusses an exercise to refine energy and remove intentionality by having people move in space and make or break contact with others. Participants learn about relationships, personal space, and welcoming or excluding people from their space through this exercise.

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    https://vimeo.com/channels/1495902

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    The document discusses an exercise to refine energy and remove intentionality by having people move in space and make or break contact with others. Participants learn about relationships, personal space, and welcoming or excluding people from their space through this exercise.

    Copyright:

    © All Rights Reserved
    Download as DOC, PDF, TXT or read online from Scribd
    Download as doc, pdf, or txt
    21 views1 page

    0010 All That Jazz

    Uploaded by

    Methuen Drama
    The document discusses an exercise to refine energy and remove intentionality by having people move in space and make or break contact with others. Participants learn about relationships, personal space, and welcoming or excluding people from their space through this exercise.

    Copyright:

    © All Rights Reserved
    Download as DOC, PDF, TXT or read online from Scribd
    Download as doc, pdf, or txt
    of 1

    All that Jazz

    This exercise has been prepared for by everything which has gone before. By starting with the
    roustabout, rough game of finger-fencing one is engaged in a constant process of refining the
    energy. What we are beginning to do in this game is take away intentionality, that is conscious
    intention. One is trying to let things happen. In the others you can play them with conscious
    intention, but in this one what you are trying to do is move in space, reflecting relationships
    between people. Sometimes this exercise goes sadly wrong because people then start doing
    things that are quite ridiculous, like lying on the floor. I say to them, 'If you did that in the street',
    you'd be marched down to the police station or the mad house'. We function within the social
    restrains of our society. Once again there is no physical contact, there is no violence, there is no
    provocation - this is simply bodies moving in space. It is about making and breaking contact. You
    learn an awful lot from it. You suddenly find yourself looking into someone's eyes or standing
    close to them and you become aware of all sorts of things that are part of your relationship to this
    person. I have done this once before with people whom I didn't like and didn't understand and
    then I began to see a totally different person there. But you also learn something about space;
    you can make mistakes by intruding upon people's space. We can go back and examine things
    that come out of this game. One can see the greatest sin on the stage - which is to walk across
    the stage and trample on another across space without giving the other actor the respect that one
    would give to every other human being. Once again we are in the realm of proxemics. On the
    stage you have to give to the other actor the priority and the control of his own space. Unless it is
    part of the action one should not tread upon that space. Again, there is a whole pattern of
    meeting other people half-way, there is a whole set of actions of welcoming people into your
    space or excluding people from your space. Whatever comes out of this game you can expand
    into further examinations of what stage behaviour and what expressive qualities proxemics has.

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