1. Touch as a way of arriving in the physical body
Touching your body with the hands, later touching the floor or other edges of the space (like walls etc.) with different body parts
Touching the space (the air) to arrive
Touching another body
– from different distances
– with different speed
⇨ listening to the feedback that arises from the moment of touch as arrival
⇨ how long is the duration of the actual arriving => how does the feedback change during this time? => how and where in the body do you hear this information?
From the moment of arriving the possibilities of the future (e.g. the next movement, a sound, a word…) emerge. But it seemed that we could respond to them with readiness only when we first had fully arrived.
Aspects that came up:
Arriving as a dynamic movement of completion of ‘something’.
The duration as well as the speed of arriving can differ each time.
As we listen to the feedback that emerges in the moment of arriving we often find multi-layered information as resonance that speak to our different senses.
In this practice of “arriving” actions seemed to occur from deep within.
2. Group Improvisation: Arriving in space – space as a physical partner
Using different levels & subspaces and considering other people as part of space
Awareness of how eyes and vision are integrated in this practice
We can arrive in a place, in a stillness, in a movement, in a beginning or in an end; we can arrive in a song, a story, an image. We can use e.g. movement, sound, repetition or change to arrive. These are only a few aspects of the subject of “ARRIVING”.
3. Arriving in the beginning
Practice in small groups:
a) Arriving simultaneously
Entering space and arriving together in time in a configuration that could be the beginning of a piece.
Playing while entering space with different speed, energy, and timing.
The way the group entered resounded in the final “group configuration” which then itself carried a very specific atmosphere and by that the possible future of the piece that could evolve from this beginning.
b) Arriving successively
A is entering space and finds stillness in a specific position, B is entering and positioning himself in space, then C enters and positions himself. Then A, B & C shift at the same time into a new ‘position’. This is the beginning of the piece.
It became very tangible that e.g. for A who arrived in space first the entrances of B and C would each time alter his arrival position as their entrance would change the entire space.
=> From here we did several improvisations in small group – using different ways of beginning.
4. Allowing a title to ‘arrive’
We added the following aspect for the audience:
As you watch the piece become receptive for words, associations and images that “arrive” in your body and imagination by ‘taking in’ the piece. Write those words directly on a paper as possible titles for this specific improvisation.
When we read our words it was interesting to see that one piece often had triggered very similar associations in the audience.
Maria & Bettina