IMK Documentation Model

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<Introduction>
IMK Documentation Model
Extra Dry (1999) EG|PC Emio Greco / Pieter C. Scholten Inside Movement Knowledge (IMK) Documentation Model Gaby Wijers, Annet Dekker and Vivian van Saaze
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Table of Contents
Introduction 1. Context
EG|PC The company 1.1.1 The International Choreographic Arts Centre Amsterdam 1.1.2 Salons 1.2 Emio Greco I Pieter C. Scholten 1.2.1 Biographies 1.2.2 Collaboration between EG|PC 1.3 Artistic Team 1.4 Important concepts 1.4.1 The Seven Necessities 1.4.2 Implications of the Seven Necessities 1.4.3 Glossary 1.1
2. The Work Fra Cervello e Movimento: Extra Dry

2.1 Description of the work 2.1.1 Fra Cervello e Movimento: Extra Dry 2.1.2 Title 2.2 Structure of Extra Dry 2.2.1 Score 2.2.2 Extra Dry Parts 2.3 Meanings of the work 2.3.1 Fra Cervelle e Movimiento 2.3.2 Extra Dry 2.3.3 The Seven Necessities with regard to Extra Dry Page 3 of 75 IMK Documentation Model
3. Phases and Parameters

3.1 Different phases in the creative process 3.2 Parameters of change 3.2.1 Dancers 3.2.2 Space 3.2.3 Time 3.2.4 Audience
Appendix
A. B. C. D. E. F. G. H. I. Biographies EG|PC (ICK Aanvullen) Team Extra Dry (Gaby) Play List Technical Rider Cue List Light Plan Soft Materials (Doeken) Structure Extra Dry References
4. Prerequisites for Reconstruction Extra Dry

4.1 4.2 4.3 4.4 What dancers need to learn Warming Up Installation Workshop
5. Staging / Scenography
5.1 5.2 5.3 5.4 5.5 5.6 5.7 Collaboration artistic team Stage Cues Light Sound Computer/Software Costumes
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The forms that documentary work assumes are as numerous as the needs from which they are born.
Suzanne Briet, What Is Documentation? (1951)
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Introduction
Why a Model? In the context of the interdisciplinary Inside Movement Knowledge1 project, the research team from the Netherlands Media Art Institute2 (NIMk): Gaby Wijers, Annet Dekker and Vivian van Saaze were invited to explore the possibilities of developing a generic documentation model for contemporary dance by drawing from their experiences in the preservation, documentation and knowledge transfer of media art. What do we need to know in order to be able to recreate, reperform, or in other ways bring the performance piece into the future? The key objective of the NIMk research team was to develop a methodology that allows to gain insight into artistic reasoning in such a way that it provides future dancers, choreographers and researchers an understanding of their work.3
1 http://insidemovementknowledge.net/ 2 http://www.nimk.nl 3 The term artistic reasoning here is used in relation to the body of knowledge that is involved in the artistic process. We use the term artistic reasoning to place emphasis on the decision-making and problem-
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Right from the start, the research team decided to focus primarily on the case study Extra Dry, a seminal piece which has been performed in several versions. Extra Dry is the third part of the trilogy Fra Cervelle e Movimiento (translated as: Between Brain and Movement). Fra Cervello e Movimento is a set of three performances Bianco, Rosso, Extra Dry. Where Bianco and Rosso are solos Extra Dry is a duet, the first big stage co-production and staged for over 10 years with different casts. In capturing the artistic process, questions that emerged are: What are the essential elements of this work (in its finished condition) that should be captured so that the documentation better reflects those invariable properties that make Extra Dry the performance that it is. How do new performers or changes in music, lights, and set effect Extra Dry? This model is a work-in-progress and part of ongoing research. During the research period the model has been adjusted and refined. The IMK-laboratory week of April 2010 has been dedicated to collecting information, as well as to gathering and processing feedback from IMK partners, the international advisory team, and external specialists.4 The feedback on the concept model has proved to be very valuable and has helped to further develop the model into a useful tool. Interestingly, all feedback groups valued the model for different reasons and expressed the wish
solving that is inherent to the artistic and creative process. Yet, rather than following the artistic process in real time; we have focused on tracing and documenting information that provides insight into artistic reasoning through interviews, literature research and by comparing respective performances of Extra Dry. 4 Feedback groups: EG|PC: Bertha Bermudez and Barbara Meneses / Utrecht University: Maaike Bleeker and Laura Karreman / AHK dance teachers: John Taylor. Maria Ines Villasmil, Vivianne Rodrigues / linguist: Carla Ferndandes / dramaturges: Fransien van de Putt and Andrea Bozic / dance scholar: Jeroen Fabius / international experts: Caitlin Jones, Reinhard Beck, Sami Kallinen.
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to use and further develop the documentation model for their own practices. Thus, although the model as presented here is an end-result of the IMK research as carried out by the AHK and partners, it should also be considered as a point in an ongoing inquiry, and we hope that it will be scrutinized and further developed by a manifold of different users.
Objectives and Challenges In order to narrow the project down, we decided not to look into representation of movement / body analysis or visualization of movement dynamics that underlie the structure of the performance. For the transfer of EG|PCs movement vocabulary and method, the installation Double Skin / Double Mind and the video-registrations are, in our understanding, the instrument suited for movement transfer. Thus. the model should be understood in addition to the installation and video recordings. Although current documentation research in media art is expanding to include user/spectator experience, in the scope of this project, we have not been able to include the relevance and mapping methods used for this live element of media art. Our focus was to develop a general documentation approach that would provide a framework to structure the essential information required for a re-construction of an already existing work.
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Rather than following artists during the process of producing a new work (sher (re-creation approach), we traced and gathered information about a piece that has been, and still is, reperformed by the company. This approach of course has effect on the type of information that has found its way to the documentation model. During the documentation process we realized that our background in contemporary fine arts (rather than choreography and dance) was sometimes an advantage; e.g. in terms of transferring experience in the documentation and conservation of contemporary art to contemporary dance, and bringing in a fresh eye on things. In terms of gathering and producing information it, however, at times meant a drawback as we do not master the vocabulary and knowledge that is necessary to complete the model according to the standard that we had initially set. Sections at which we particularly found ourselves lacking the required background are for example: movement material and dramaturgical analysis. Although we tried to compensate this by consulting dance specialists from within and outside the IMK research project, we realize that this type of information should be added to the model. Another challenge was to develop a model that would provide insight into the artistic reasoning and working process of EG|PC, but that would not limit itself to the work of EG|PC. Put differently: the model is developed for capturing information on Extra Dry by EG|PC and should also provide a framework that is fitting to capture other creative processes by the company as
well as outside of the company. To which extent the model succeeds in this goal, is a question to be answered by future users.
Parameters of Change Our research has focused on the type of information that would provide insight into the working process of EG|PC and the realization of Extra Dry in order to arrive at a reconstruction. Therefore, of keen interest for us was the reasoning behind significant changes in the sequence of existing performances of Extra Dry. To gain more understanding in decision-making, we tried to include information that would not only explain what is done, but also why it is done and what the parameters of change are according to Emio Greco and Pieter Scholten as well as other sources.5 For example: What is the role of the costumes and why is this particular kind of material used for the costumes and why was this material chosen above others?
5 The model, in other words, tries to encompass both know how and know that. Know how is concerned with practical reason and doing and is related to tacit, practical knowledge, and skills as distinct from theoretical knowledge and reasoning. Know that on the other hand is a knowledge of facts and information. (Ryle 1949).
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Users and Usages As our goal was to develop a generic model, we didnt want to exclude any user-groups from the outset. However, as the model developed we realized that although the model and its content may be taken up by different user-groups, in order to better organize and prioritize information we needed to decide on a focus-group. In line with the set-up of the IMK-research project we therefore decided on the EG|PC Company as key user. This means that the model should first and foremost fit within the goals of ICK; providing an information structure that may help the company to document and reflect on their previous performances, containing specific documentation of Extra Dry. Of course, the different objectives do not need to exclude each other. The documentation model can be used as a tool for annotation in the sense that it offers a way to describe a existing work, and provides a structure to order this information. In combination with the score, the installation, and video-registrations it should provide inside knowledge into the working process of EG|PCs and the elements of Extra Dry that are considered crucial to the sources that we consulted. The model is additional to the ICK-archive (which consists of individual documents) in the sense that it structures the information in a different way and with a distinct goal. Moreover, the model has also produced new materials and pieces of information that were lacking from the archive.
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Working Approach The main objective for the NIMk team was to develop a model for documentation. Our goal was to develop a model (graphically represented) that will then be tested and refined. As a starting point, we first looked into existing methods of capturing media art and contemporary dance performances, mediation for re-enactment and representation and parameters of change/ restrictions (what is possible, and what is not possible). Parallel to the undertaking of capturing content we compared and evaluated documentation models already in use for capturing media art. Many of the models that we analysed reflect the transition that has taken place in the artform from object to process and context while acknowledging variability in time as essential elements of a work. This corresponded, in our view, very well with the different phases and stages in contemporary dance. What was extremely helpful in these recent documentation models was that they consist of specific questions that focus on the parameters of change: How much changing is allowed on the art before it becomes something else? These and other question helped us to analyse and understand contemporary dance. Some question proved useful to get a grip on the material we were dealing with, whereas others showed us our lack of inside knowledge in the discipline. Most of all it helped us to see what was missing and where adjustments were needed in order to develop a usable documentation model for contemporary dance.
Similarly, we explored existing methods and models, and dance analyse, notation and reconstruction to find an optimum form to define, formulate and structure the relevant data.6 In terms of capturing Extra Dry, we proceeded by collecting, categorizing and classifying relevant information derived from Extra Dry trough conducting interviews, literature research and by comparing respective performances of Extra Dry. The core is formed by the vision of the makers expressing what is important to Extra Dry. In this sense, the model can be considered a hybrid: a combination of strategies to enable recreating the work. The information sources can be categorized in several layers. Ideally these layers are graphically represented and connections can be made between the different layers. The hierarchy between the different levels is made visible by graphic representation: First layer: information from interviews with Emio Greco, Pieter C. Scholten, Bertha Bermudez, Barbara Meneses, and Paul Beumer conducted by NIMk team7; Second layer: information from the ICK website and other ICK sources; Third layer: information from interviews with Emio and Pieter conducted by others;
Fourth layer: information from secondary literature.
6 For a more detailed description of our working approach, see the NIMk research team contributions in Notation, Amsterdam School of the Arts 2010, pp. 1527. 7 Interview quotes have been slightly adjusted to approve legibility.
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Structure of the Model8 In the first chapter, the company and work of EG|PC are introduced. The aim of the chapter is to provide insight into the context in which Extra Dry is conceived and performed. In addition to information on the collaboration between Emio Greco and Pieter C. Scholten, their oeuvre, the company and its activities, this section also seeks to provide insight into several concepts and building bricks that are considered of key importance to EG|PC. Chapter two zooms into Extra Dry and elaborates on its origins as part of a trilogy. The chapter starts with a detailed work-description and provides several readings/interpretations of the work by means of reviews and analysis. The structure of Extra Dry is mentioned and the positioning of the piece in EG|PCs repertoire. Special attention is paid to the Seven Necessities in relation to Extra Dry. In order to provide insight into the creative process and artistic reasoning, chapter three attempts to reconstruct the choices and decisions made during this process. To understand the parameters of what can change and what not in other words: what is considered essential to Extra Dry the respective performances of Extra Dry have been compared with a focus on: (choice of) dancers, space, time, and audience relationship.
8 For practical reasons we have chosen to start with a linear text-based documentation model. Designer Stephen Serrato will explore the possibilities of transforming the collected data into a more accessible format.
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In chapter four we explore what is considered crucial to future reconstructions /rearticulations of Extra Dry. The chapter focuses on the preparation phase. This information may be of particular interest to dancers and technicians. The last chapter elaborates on the scenographical elements of Extra Dry.
Evaluation and Further Research It will come as no surprise that our current approach is already quite time consuming. We are very much aware that such an approach is most likely not feasible for small companies or emerging choreographers, nevertheless it may help to document and reflect on their own working process. Interestingly, the model has already proved to be useful in terms of providing insight on what information is still lacking with regard to Extra Dry. Also, the model has helped to specify and formulate questions that were then posed to EG/PC. In this sense the model can be regarded as a tool; as a document that allows for further conversation, creating a workingdocument that encourages and deepens mutual inquiries. At this moment in time the model has not yet been tested in relation to an actual reconstruction of Extra Dry by EG/PC or others. However, members of the feedback group have
already mentioned the following user-possibilities: as a model to document other choreographies by EG/PC, as a documentation model to be used for choreographies by other choreographers, as information source for students working with and learning from EG/PC. Recognizing the importance of documentation for contemporary dance, we hope that by defining crucial categories and opening up our methodologies, the current model can contribute to working towards an accessible and workable format that can be used by others.
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Our work is based on friction. Its a continuous discussion.

Interview with EG|PC by NIMk team 16.04.2009
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1. Context
In this first chapter, the company and work of EG|PC shall be introduced. The aim of the chapter is to provide insight into the context in which Extra Dry is conceived and performed. In addition to information on the collaboration between Emio Greco and Pieter C. Scholten, their oeuvre, the company and its activities, this section also seeks to provide insight into several concepts and building bricks that are considered of key importance to EG|PC.
1.1 EG|PC The company Emio Greco | PC was founded in 1996. It is more than a dance company: the company promotes a broader attitude towards the consciousness of the body. It initiated a series of Salons on Dance & Discourse, established a section devoted to research on recording and notation of body movement and developed an educational program under the name of Accademia Mobile. EG|PC regularly invites artists from their own and other disciplines to take part in a valuable dialogue. In the past years, Emio Greco and Pieter C. Scholten have stepped back from making purely dance-centered work to direct their attention to theatre, film and opera as well as contemporary music, always with dance as their point of reference.
ICK website, August 2010
1.1.1 The International Choreographic Arts Centre Amsterdam ICKamsterdam is an initiative by choreographers Emio Greco and Pieter C. Scholten: an interdisciplinary and international workplace for prospective and established talent. From the starting-point of dance, ICKamsterdam strives for the continuous development and enrichment of dance as well as other art forms. ICKamsterdam is intended as a dialectical space, with residents and passers-by who interrelate through communication, confrontation and exchange, with ideas, schemes, known and unknown projects. Central to ICKamsterdam are the seven pillars such as artistic productions, talent development and Page 22 of 75 IMK Documentation Model
knowledge transfer, reflection and research, innovation and alliance. It also houses dance company Emio Greco | PC.
1.2 Emio Greco I Pieter Scholten9 Emio Greco and Pieter C. Scholten have collaborated in their joint search for new dance forms since 1995. They found a strong common interest in the possibility of a dance seen as the expression of a visionary body, with the theatrical space as the external influence on that body. In their performances, dance is regarded as autonomous, and capable of creating its own time and space. Dance is never brought into action as a medium for conveying, nor for dressing a theatrical space. Instead, dance is perceived as possessing an inherent logic, by which it is able to express the intelligence of the body without needing the addition of meaning or explication. All the elements of a performance the space, the lighting, the sound are applied throughout the working process with a view to eliciting from the body the impulses that are driving its self-examination.
Much of their work precludes habits in the dance and at the social framework in the practice of dance sound. It led them to the path of the multidisciplinary exchange.
Purgatorio Popopera, epiloog Mestreech door Fransien van der Putt, oktober 2008
1.1.2 Salons Since January 2003 Emio Greco | PC has regularly organized informal gatherings devoted to discussing and debating dance and the wider field of the arts. Journalists, art critics, academics and artists have attended these Salons to exchange ideas and express their views on the existing notions of art criticism and dance discourse. At the invitation of EG|PC, essays were written by various authors in order to set off the discussions, and in reaction other articles have appeared in diverse papers and magazines. The Salon topics have ranged from specific dance related issues, like notation and archiving of contemporary dance, to the more general discussion of art criticism.
ICK website, September 2010
1.2.1 Collaboration between EG|PC PC: Officially, Im not a dramaturge. Its mentioned because, since the 90s, when a choreographer works with a person with a theatrical background, then it is directly called a dramaturge. I started as theatre director and maybe a sort of dramaturge for choreographers more linked with dance theatre. But directly at the moment we worked together, it was a sort of equal way of working; to go through a whole process from the beginning towards the end. Over the years, I experienced going into the choreography field in the sense of the level that I could reach the body from the inside. And Emio, on the other hand, goes from the experience; less inside to more from the outside. Its going to touch a directors eye, to call it like that, someone who can just see it from the outside and intervene from the outside. EG: At the same time, I started to realise oh, my God, this is so big, how are we going to contain this? How can you structure it? Because different than Pieter, I always keep changing and I have more of a tendency to create more instead of reducing, more of a tendency to keep going instead of putting structure. There is a structure in the movement, there is a logic. Everything that I create is a very articulated voice, the body
9 For biographies, see: Appendix 1
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speaks. But my tendency is never (), I would never by myself put it in a frame. After a few months I met Pieter and it was exactly what it was; that kind of need of organising all those chaotic things and to try to describe. Because it was dance but the word around it was bigger than just body movement.
Interview with EG and PC by NIMk team 16.04.2009
het podium, maar een voortdurend zoeken naar innerlijke rust en het uiting geven aan de zaken die de rust verstoren.
Het oeuvre van Eg|Pc wordt nu juist gekenmerkt door pogingen om deze globale kijk op mensen te doorbreken. Het zijn de details in het lichaam en in de persoonlijkheid van de danser die er toe toen. Het is de individuele inzet die het verschil maakt en de happening veroorzaken. Het werk van Eg|Pc gaat dus niet om de ultieme fysieke prestatie, het is geen sport, al komt het dicht in de buurt. Het gaat ook niet om de ultieme verbeelding, het zijn geen ideale lichamen in ideale rollen, die u als toeschouwer voor een moment uw eigen lichaam, misschien wat uitgezakt of juist al te opgepimpt, doen vergeten. In hun werk spreken Eg|Pc uw lichaam, dat vat vol frustraties, ambities, tegenstrijdigheden en verlangens, verworvenheden en tekorten aan en brengen het stilaan in beweging. Dramatische licht- of geluidseffecten prikkelen de zintuigen, de intensiteit van de dans overspoelt de toeschouwer met indrukken en langzaam raakt je als toeschouwer de controle kwijt. Door het effect van de danser en de dans bij tijd en wijle terug te brengen tot bijna niets, wordt de toeschouwer ook op zichzelf terug geworpen. Je mag het zelf gaan uitzoeken. Tien jaar eerder, in 1996, begonnen Emio Greco en Pieter C. Scholten hun samenwerking met een solo en een manifest. Bianco heette de eerste voorstelling: beginnen bij het begin, wars van technisch vernuft of theatrale pretenties, maar bezeten door de noodzaak om de complexiteit van de fysieke ervaring centraal te stellen in de dans. Alles halen uit dat ene lichaam met slechts een aantal principes op zak, geformuleerd in het manifest. Dans moet volgens Greco en Scholten meer zijn dan esthetische lichaamsvormen op muziek. Het gaat om het vermogen van de danser om via zijn lichaam de wereld anders waar te nemen en dit te delen met een publiek. Je lichaam tot het uiterste drijven, niet om hoogstandjes te vertonen maar om nieuwe ervaringen op te doen. De esthetische controle over het lichaam opgeven en in plaats daarvan een innerlijke helderheid zoeken, een logica van vlees en bloed; noem het intutie, instinct, speelsheid, onderbewustzijn of zelf-inzicht. Het is niet het soort controle dat men gewoon is in de dans. Yoga en ademhalingsoefeningen liggen aan de basis van het werk dat u hebt gezien. Niet de blikken van anderen en in spiegels bepalen de gang over Page 24 of 75 <Context> IMK Documentation Model
Video stills from an interview with Emio Greco | PC / Artist interview scenario developed by the ICN and SBMK during a pilot interview project (1998-1999), source: www.incca.org/files/pdf/ projects_archive/1999_concept_scenario_artist_interviews.pdf
1.3 Artistic Team Extra Dry Choreographer / Direction Emio Greco / Pieter C. Scholten Lighting, Set, Sound Concept Emio Greco / Pieter C. Scholten Lighting Design Henk Danner Costume Design Clifford Portier Realisation of Sound Collage Wim Selles
1.4 Important concepts 1.4.1 The Seven Necessities In 1996 Emio Greco and Pieter C. Scholten wrote their artistic manifest Les sept ncessits. This dogma, of which the articles are stated in French because Il faut que so much more strongly expresses necessity is an attempt to capture dance in words. In the manifest they laid the basis for a dance language that goes back to the inner necessities of the dancing body, an inner awareness of time and space that is stored in the deep memory of the body. Today, the manifest has not been diminished in currency or relevance and it still serves as a source of inspiration for the continuous development and deepening understanding of the work 1. Il faut que je vous dise que mon corps est curieux de tout et moi: je suis mon corps It is necessary for me to tell you that my body is curious about everything and I am my body Il faut que je vous dise que je ne suis pas seul It is necessary for me to tell you that I am not alone Il faut que je vous dise que je peux contrler mon corps et en mme temps jouer avec lui It is necessary for me to tell you that I can control my body and play with it at the same time Il faut que je vous dise que mon corps mchappe It is necessary for me to tell you that my body is escaping Il faut que je vous dise que je peux multiplier mon corps It is necessary for me to tell you that I can multiply my body Il faut que je vous dise quil faut que vous tourniez la tte It is necessary for me to tell you that you have to turn your head Il faut que je vous dise que je vous abandonne et que je vous laisse ma statue It is necessary for me to tell you that I am leaving you and I am giving you my statue
2. Production Emio Greco | PC Co-production Kaaitheater, Brussels (B), Tanzwerkstatt Berlin D), Klapstuk Festival, Leuven (B), Springdance, Utrecht (NL)
Extra Dry
3.
4. 5. 6. 7.
ICK website, oktober 2009
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1.4.2 Implications of the Seven Necessities PC: Somewhere in 1995 it started, if you talk about documentation, it was time for me to find ways to document the body of Emio with all its possibilities as it was a potential, incredibly rich. Where to start? It could go everywhere in this kind of quality. You have to start somewhere and I did it in seven directions. And we still profit from that first moment and from there came the special statements manifest. I still structure everything in seven parts. It is just a starting point, but its good to enclose it and thats also the trick of it. And from there, you have to break it open again, and that creates tension the whole time which means a lot of creativity and a lot of possibilities. Its continuously in discussion, so you continue to have to motivate yourself: why these seven directions, why these seven possibilities, why these seven qualities? PC: Its also in all this work, the internal logic was the most important from the dance fragments, also to keep that quality. So it doesnt allow you to do just whatever you want with it. Thats why also at the end of phase two10, this internal logic is so logical already, so you cannot, its very, well, sometimes its happens that we put something in another order, but its three weeks more work to find, again, a logic through these replacements. Its [unclear] okay, thats better because we put it there. But that does have an effect on everything that follows after and also before.
Interview EG and PC by NIMk team 16.04.2009
1.4.3 Glossary Emio Greco I Pieter C. Scholten: Synchronicity is a word coined by the Swiss psychologist Carl Jung to describe the temporally coincident occurrences of causal events. Jung spoke of synchronicity as an a causal connecting principle (i.e. a pattern of connection that cannot be explained by direct causality). Plainly put, it is the experience of having two (or more) things happen coincidentally in a manner that is meaningful to the person or persons experiencing them, where that meaning suggests an underlying pattern.
Source: Gaby Wijers
Unisono synchronicity Two entities juxtaposed to see what may happen, what may be possible in the way of crossovers, where the specific loses its outline and where it unmistakably distinguishes itself from its counterpart. In Bianco and Rosso the body of one dancer spanned the duality of body and mind and took up [?] In the space between the two, the interspace, the twilight area between the poles. The duality of the land I and the not-I, subject and object, consciousness and existence, body and mind, the profane and the sacred. Extra Dry marked the beginning of multiplication: the duality made visible by the two dancers on the stage. And even when a complete unisono synchronicity in dance and movement seems to be occur, there is never complete unity. The more synchronicity there is, the more the individuality of the dancers is emphasized. PC: When it is performed well, as a synchronous unisono journey of a set of dancers on the stage, then it becomes like a single breath, but with a clear-cut view of the characteristics of each individual dancer.
The wake-up calls of Emio Greco and Pieter C. Scholten, Gabriel Smeets, Amsterdam Augustus 2004
Unity duality multiplicity Besides being a given fact, duality is also a basic precondition for the creative process of Greco and Scholten. It is in this interspace that new things are created.
10 Fase two in the creative process.
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PC: There is a constant friction between the elements. Dance and lighting, lighting and music, music and dance. Unity does not exist, though you may reach for it. If unity were to be achieved, the work would be impossible. That aspiration and that friction are recurring elements in our work. Neither Emio nor I constitute a unity. Our collaboration is based on friction. EG: Duality marks the first fission of the entity. That first division, that first great separation, that is gigantic. Unity is broken and fragmentation has set in. What follows is multiplication, repetition. We are programmed to aspire to unification, in the knowledge that we shall never accomplish it. Such is life. The desire of oneness is the driving force.
Engagement PC: Ik denk dat de manier waarop wij dingen benaderen, waarop wij de mogelijkheden van het lichaam onderzoeken en ontwikkelen, in zichzelf een vorm van engagement is. Het leidt tot een verregaande emancipatie van het lichaam en maakt het onbekende voelbaar dat achter lichamelijkheid schuil gaat. Het stuk Extra Dry (1999) bijvoorbeeld is een statement over synchroniciteit; een beladen fenomeen in de danskunst. Daar komt wel degelijk een bepaalde visie naar boven. maar je kunt niet zeggen dat het over twee mensen gaat die elkaar niet meer leuk vinden en elkaar dan weer terugvinden...
De triomf van het lichaam, Programma van het Holland Festival, Rimasto Orfano 1212 juni 2002 interview Lonneke Kok.
Extremalisme EG: Ja, die term is voor het eerst in de mond genomen door de franse theaterdirceteur Francois le Pillour, na het zien van Extra Dry in Rennes, Bretagne. Zelf komt hij uit het theater hij is overigens erg politiek gengageerd en is niet erg dol op dans, hij is er zelfs erg sceptisch over. In ons werk herkende hij een extremalistische component, een samentrekking van extremisme en minimalisme. Het werk bevat aan de ene kant hele extreme elementen; extreem in hoe ze in de ruimte geplaatst zijn, hoe ze met de tijd omgaan en met intensiteit, hoe ze zich verhouden tot het publiek. Aan de andere kant zijn er pure, minimalistische factoren in het spel: het lichaam dat volstaat in zijn beweging, zonder omkleding van verhaal of mathematische patronen. Daarin toont ons werk het plezier, de triomf van het lichaam. De term extremalisme is op zich een erg goede interpretatie van ons werk en daarom hebben we de term geadopteerd.
De triomf van het lichaam, Programma van het Holland Festival, Rimasto Orfano 1212 juni 2002 interview Lonneke Kok.
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2. The Work
After sketching the context and oeuvre of EG and PC, chapter two zooms into Extra Dry and elaborates on its origins as part of a trilogy. The chapter starts of with a detailed work-description and provides several readings/interpretations of the work by means of reviews and analysis. The structure of Extra Dry is mentioned and the positioning of the piece in EG|PCs repertoire. A large part is dedicated to the Seven Necessities in relation to Extra Dry. These Seven Necessities form an important underlying drive for EG and PC and therefore deserve special attention.
2.1 Description of the work 2.1.1 Fra Cervello e Movimento: Extra Dry Fra Cervello e Movimento is a set of three performances; two solos, Bianco and Rosso, and a solo for two Extra Dry. This trilogy investigate the dyad brain (cervello) and movement (moviment); a mind that wishes to control and a body that is curious for new sensations. The motive is the interest towards the reactions that inner impulses impose on the body. How can the body surpass its limitations? How open can it be in its responses and what kind of transformations can it take on? It was only after Rosso that the idea of a trilogy began to form; Bianco and Rosso belonged together and the thought occurred to have them followed by a third part. On a request by dance festival CaDance in the Hague, Greco and Scholten [together with Bermudez] first created the performance Double Points: Two. For the first time a duet, for the first time a choreography. It marked the overture as well as the preliminary investigation for Extra Dry.
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After the solos Bianco and Rosso, Extra Dry (premiere 30-3-1999, Kaaitheater Brussels, Belgium) is performed with two dancers. Starting with the male dancers Emio Greco and Andy deNys, it was performed almost 50 times in Europe; Belgium, The Netherlands (premiere Springdance 15-4-1999) Austria, France, Russia a.o. From 25-5-2000 on Barbara Meneses replaces deNijs and until 2006, and Extra Dry is performed around 45 times touring trough the USA and Italy a.o. In 2004 the three parts of the trilogy are performed together again. On the 4th of February 2006 Meneses rol is performed by Sawami Fukuoka and Nicola Monaco, performing together with Emio Greco and one more year Extra Dry is performed by a male and female dancer(s) (ca. 12 performances). A new cast is introduced in August 2007 and is three months performed in a male cast by Vincent Colomes, Emio Greco and Nicola Monaco. On the occasion of Extra Drys 10th anniversary it was for the first time performed (2x) without Greco but with Ty Boomershine and Victor Callens. Since 2009 Victor Callens and Vincent Colomes perform Extra Dry, ca. 10 performances took place since. With the changing cast over time the experience of Extra Dry changed, the scenography did not.
Substract from EG|PCs archive (GW)
2.1.2 Title EG: For Extra Dry its also interesting because the piece got the life because of the name. That was also one of the things that happened a few times. Because Extra Dry isnt anything, but just the words make the piece, just two small words. They were so strong, that was enough to make it what you saw. Of course there were some bodies behind, but the concept was just the name. PC: After Bianco and Rosso everybody thought now it becomes blue. So to counteract that, we just came with Extra Dry and went to another cycle. The funny thing is that with Extra Dry, it gets a logic. Extra Dry became gold, it became gold. Extra Dry, the water out, to see the reason that the sweat comes out. So it completely fitted and its, in a way, accidental. It happens that, as Emio said, the title is completely the piece. EG: Its sacral and profane, and gave this perception of difference, the most symbolic and recognizable concept of dance is the duet we did it in a totally diffferent way.
After the solos Bianco and Rosso, Extra Dry is performed with two dancers. Extra Dry is an investigation into simultaneity: the synchronous movement. Moving from the explosive to the exploratory in the search for oneness, the two bodies breach invisible boundaries. The perfectly controlling mind, subjecting the body to the will of the dancer, is confronted by the bodys resistance to obey. In Extra Dry, the third part of the trilogy Fra Cervello e Movimento (between brain and movement): -bianco-, ROSSO, EXTRA DRY) the isolation brought along by the previous solos is broken through. Starting point is the urge to physical interaction.
Waarom goud? Choreograaf en danser Emio Greco hoeft niet lang na te denken over het antwoord. De kleur heeft precies de uitstraling die hij zocht, omdat die tegenstrijdige beelden oproept. Goud is warm en glanzend, barok, duur, mysterieus en sierlijk. Maar ook metalig, hard, koud en afstandelijk. Die dubbelheid is de basis van Extra Dry, dat de vorm kreeg van een duet. De choreografie combineert volgens Greco het sacrale en het profane, het verhevene en het prozasche. Beide aspecten van een beweging helpen de mens te transformeren tot iets wat het menselijke overstijgt, legt hij uit. En om die transformatie is het de choreograaf te doen. Illusie is een belangrijk element van de transformatie die Greco met zijn dans wil bewerkstelligen. Ook wat dat betreft is zijn kleurkeuze treffend. Goud staat tenslotte ook voor goedkope glitter of sprookjesachtige tovenarij. Extra Dry begint met een korte helwitte lichtflits. Een fractie van een seconde zie je een in het wit geklede man op het podium staan. Als een magir aan het begin van een seance. Na nog een flits staat er ineens een tweede danser (Andy Deneys) tegenover hem. In een volgende scne lijken beide dansers op wonderbaarlijke wijze samen te vloeien tot een lichaam dat met beheerste, langzame bewegingen van houding verandert en dan over meer dan tweearmen blijkt te beschikken. Toverij die je hersenen prikkelt te geloven wat je ogen zien; een illusie. IMK Documentation Model
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Een moment later in de voorstelling levert een soortgelijke ervaring op. Oorverdovend harde muziek van Vivaldi vormt een scherm van geluid tussen publiek en podium, wat een hallucinerende werking heeft. De dansers, die in een veel sneller tempo zijn gaan bewegen, lijken zich op een ander werkelijkheidsniveau te bevinden, alsof de realiteit zich heeft verdicht. Net als de lichtflits in het begin creert de herrie een moment van helder inzicht.
Emio Greco kiest voor goud door Willemijn in t Veld In: Veluws Dagblad, 7-4-1999
2.2 Structure of Extra Dry
Extra Drys Structure
Is divided in 2 parts
Net als bij bianco en ROSSO is ook hier de bhne opgevat als een box. De weliswaar doorlaatbare wanden ervan worden niet ongestraft doorbroken. Na een poging vallen de dansers als levenloos op de grond, terwijl in de verte het geluid van vuurwerk of van geweerschoten te horen is. Talrijk zijn de momenten waarop Greco en Deneys naar boven staren, als viel daar iets te zoeken- of te vrezen (de bombardementen zijn slechts en 1500 km van Brussel verwijderd). Het dient gezegd: voor het bereiken van zijn indrukwekkend effect krijgt de dans in Extra Dry veel versterking van de geluidsmontage van Wim Selles en het licht van Henk Danner. Dat doet echter geen afbreuk aan de imposante kwaliteiten van de dans zelf. Zoals steeds oogt Greco maar ook zijn compagnon- op een knappe technische beheersing. Elk detail vormt een goudkorrel in het geheel. En het mooiste is dat Greco zelf daarom eeuwig verwonderd lijkt.
Als twee lepeltjes door Clara van den Broek In: De Morgen 8-9-99
Containing 7 sections Each section has Scenes Containing
Intermediate elements
Movement phrases
Articulated by
Defined by
Interact with
Punctuated by
Time space
Cues
Actions Qualities Body parts Intentions Forms
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2.2.1 Performance Structure PC: Extra dry is a choreographed road dance. The piece is divided into to 2 main bodies (parts) containing 7 sections. The division of each section is related to a specific concept that influences the treatment of time, space and the relationship of the two dancers. Even when they are together, their relation changes. At the same time each section has different scenes that contain movement phrases and inter-medial elements. These elements are light, sound, costumes, set, other dancers and the public and are defined by the specific use of time and space parameters. The different inter-medial elements interact with movement phrases through cues. These cues punctuate the movement phrases providing them with different dynamics, tempo and inner structure. At the same time movement phrases are articulated by actions, qualities, the use of different body parts, intentions and generated forms. Movement phrases are individual small structures that later become part of the piece. These phrases have a beginning, end, concept, quality and often a name. The idea is to first get acquainted with the movement material and its specificity to later find their life within the different sections of the structure. This means that there are always two layers to pay attention to while dancing, the quality of the movement phrases and their role and meaning within the structure. The main performative differences between part 1 and 2 are: i) ii) the relationship between the dancers, being the physical distance or proximity between them an essential factor and the type of movement material created.
ence of the performance theme (synchronization) to be freely reorganized by the dancer. Another distinction is the treatment of the concept of synchronization, represented by the inter-relation of the dancers with the space and with each other. The dancers are requested to search individually their own path to find within a spatial distance possible ways of synchronization. The following structure provides the given names of the main parts of Extra Dry. Being done in 1999 during the creative process this structure has been developed and changed. The most important characteristic is the freedom of use of the syn words, allowing the order to be modified and also to integrate at different moments different concepts. The idea of structure is not used as something fixed but as a potential, a proposal that can be followed and or ignored.
On notating Extra Dry, Bertha Bermudez and Barbara Meneses 2009/2010
Part 1 consisting of five sections, most of the dance material, are constructed patterned phrases (that need of rehearsal). The dancers are constantly together, side by side, discovering the space through different dance material. A strong relation with the light is settled during this part, being the light the element that defines together with the dance the space in which actions occur or may have occurred. Part 2 consists of two sections where the dancers are mainly separated in space longing for the possible reunion. The dancer is in this part of the performance requested to improvise within specific parameters or to use an agreed concept to transform previously learned movement. Some dance phrases are used within this part as an important referPage 31 of 75 <The Work> IMK Documentation Model
2.2.2 Extra Dry Parts 0 1 Opening of affairs Longing for the other (intro) Synchronicity / Unisono Coincidation in time of two more or less causal connected actions with similar meaning Syncope / Two trains passing eachother (the accent changes) the accents moves by connecting to the next heavy to the previous weak or light part, either in the same or in the next beat Synergie / Corps de ballet Increased functioning by a combination of different means Syncretisme / Rum Cola Phenomena in mixing religious (re)presentations and rites from different origin into a new religious form Synergy / Prime minister of Italy versus the pope Coorperation between church and state / between faith and ration Synchronisation / similarity Coincidation in time, simultaneous passing by, total agreement between friction, phase and frequency. Synthese / The best of Connection of separated elements into a new whole
2.3 Meanings of the work EG: To choreograph that moment. Thats why the work became so specific, because we really departure again from a situation of a body. What we call intention, and to articulate the way that then could be shared. Also for the second one. Then we tried to make it very interesting for Bertha, an intriguing situation. The state of the body was already very challenging to communicate. Then we did just a half hour piece, and from this we went to extra dry. Which again was further articulated, the end of the trilogy. [] What was useful was more the transfer that we did with that, a further step towards Andy, and Barbara. To think choreography in another way. And we choose this parallel existence because we were already totally against composition, and the traditional way to consider choreography. That choreography exists when different people dislocate in a space, because they are more than this choreography. This is such a conservative way of thinking, so we say the choreography is in one person. And one person can contain the whole choreography. If there are two persons, both they contain the same choreography, but they try to keep it in this kind of straight line, they connect each other mentally and physically, both they carry the same choreography, and state of mind and body. A lot of challenge, physically and mentally, emotionally. And to this challenge things emerge completely. Just nice to observe, then you see the person, and not only the dance, the dancer and the choreography. So its really about people, about the person, and from there (). There are people who carry a certain choreography, but there is no choreography which is closing, wrapping the person. And today this is still the way we consider the dancer.
Text by Pieter Scholten translation GW
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2.3.1 Fra Cervelle e Movimiento Fra Cervello e Movimento is a set of three performances; two solos, Bianco and Rosso, and a solo for two Extra Dry. This trilogy investigate the dyad brain (cervello) and movement (moviment); a mind that wishes to control and a body that is curious for new sensations. The motive is the interest towards the reactions that inner impulses impose on the body. How can the body surpass its limitations? How open ca it be in its responses and what kind of transformations can it take on? It was only after Rosso that the idea of a trilogy began to form; Bianco and Rosso belonged together and the thought occurred to have them followed by a third part. On a request by dance festival CaDance in the Hague, Greco and Scholten first created the performance Double Points: Two. For the first time a duet, for the first time a choreography. It marked the overture as well as the preliminary investigation for Extra Dry. No strategy, no course. One thing follows from another. A continuing investigation of how far you can go. After Rimasto Orfana (reflection on their own work(GW) there was a desire to leave the path of dance. Double Point: Bertha The Bermudez Triangle came about, a portrait of dancer Bertha Bermudez Pascual, developed together with dance critic Helmut Ploebst. Teorama followed, an adaptation for the theatre of Pasolinis book and film of the same title in collaboration with Toneelgroep Amsterdam. Then came Orfeo ed Euridice the opera. Reprise of Fra Cervello e Movimento.
2.3.2 Extra Dry PC: I think Bianco, Rosso and especially Extra Dry has a certain quality which goes quite far which I dont think we reached anymore in the other pieces. Of course, something came instead Im sure, but this was, it was quite a drive which brought us there.
EG: Because there where part 1 and 2. [] PC: Extra Dry is an anchor point. It is the beginning of the work. There are a few lines coming together. A piece that is perceived as important piece on different levels, from out of the dance field, and the discipline. It speaks to people, very communicative. It is an anchor point for us, because its is two/three years from the beginning period. So all our visions, ideas of the seven necessities translated in movement and dance direction come together in that piece. It is still also a source. That makes it difference from One and Two, that it became such an anchor point. I think every artist can say, this is really my anchor point. A piece where suddenly things come together, and that makes it such an important piece, from the different sides. It communicates, it is a pleasure to see, and it has a certain quality. It is important for the art form. And that is less with One and Two. EG: I think we managed to capture the urgency, of all of our dance, and to trap, frame in a choreography. That is the main challenge, because now, we think, how are we going to keep alive this urgency, so that it doesnt kill the form. When you kill the form the urgency is gone.
Samen met danseres Bertha Bermudez deden Greco en Scholten een voorstudie voor Extra Dry, het derde deel van de triologie Fra Cervello e Movimento. In deze voorstudie, Doublepoints: two, zetten Greco en Scholten een belangrijke volgende stap in hun ontwikkeling. De vragen uit de solos werden breder getrokken. Waar sta ik ten opzichte van de ander, wat betekent de ruimte tussen ons, wat botst daar, wat zijn de verschillen en hoe gaan we daar mee om. Het klinkt allemaal niet erg dans-achtig, maar het grappige is dat in dans Page 33 of 75 <The Work> IMK Documentation Model
eigenlijk zelden de vraag wordt gesteld hoe je samen beweegt. Het wordt als vanzelfsprekend verondersteld. Dans gaat vaak over andere dingen dan de concrete dansers die op het podium de klus moeten klaren. Zij stellen zich in dienst van een fysieke rol, zij voeren die uit, soms symbolisch en liefst subliem. Maar dat vanzelfsprekende samengaan van lichamen is natuurlijk verre van reel, of in ieder geval uiterst zeldzaam, ook onder dansers. Greco en Scholten besloten daarom geen theatrale middelen te gebruiken om de frictie tussen mensen zichtbaar te maken. Verschil, verlies of tekort (maar ook plezier, voldoening en samenhorigheid) moest zich in de beweging zelf manifesteren en niet via een of andere gedanste rol. De lichaamstaal van Emio Greco, ontwikkeld in de solos, bleef uitgangspunt en Bermudez werd gevraagd in deze taal mee te gaan. Synchroniseren heet dat in dansen muziektermen. Daarmee werd van Bermudez eigenlijk het onmogelijke gevraagd. Niet alleen heeft zij een heel ander lichaam dan Emio Greco, ze is ook een heel ander mens. Door Grecos bewegingstaal minutieus te volgen en een uur lang zoveel mogelijk n gezamenlijke beweging te maken, ontstond een hele opmerkelijke synergie van overeenkomst en verschil. Individuele trekken traden door de synchrone inzet van de bewegers juist aan het licht. Niet uitvergoot, grotesk of symbolisch gemaakt, maar subtiel en kleinschalig.
Grecos work is not determined by clones, copies and duplicates, but by dis-unity, twins, dualism, and dichotomy. They can be found in Bianco (1996) as well in Rosso (1997) or, explicitly so, in the trilogys third part, Extra Dry. This piece for two (Greco), created in 1999, an acting environment of characters presented as autonomous discusses questions of synchronicity and independence. The trilogy tittle, Between Brain and movement, inverts Cartesian dualism: the organ is named (not the mind inscribed in it), and the movement (not the body to which it can be attributed). The ironical allusion to the Martini drink (bianco, rosso, extra dry) rather seems to be associated with the opposite, the disappearance of the body. Il faut que je vous dise que je vous abandonne et que je vous laisse ma statue, is the last of the seven necessities formulated by Greco and Scholten in a manifesto from 1996: I have to tell you that I am leaving you, and that I am leaving you my statue. Consequently, the starting point for Grecos work is his own body and its abilities, which manifest in an elaborate technique: If we confront technique with rationality, we can say that the technique also is the higher expression of the rationality. Moreover, technique is necessary Page 34 of 75 <The Work>
to organize the madness, and, in a way, to create the dialog with the observer. The manifesto identifies this as programmatical: Il faut que je vous dise que je peux controler mon corps et en meme temps jouer avec lui. It is a body that cannot be predefined but rather conceives itself during the working process. The stage appears as a profane negative to the sacral ambivalence of the golden walls in Extra Dry where the performer is positioned similarly but introduced by harsh lightning. The antagonists sacral and profane appear as leitmotiv in Grecos and Scholtens work. The stage in Extra Dry equally refers to mundane and religious symbolic content, to the kitsch and costliness of gold. The exposure of elements creates sacrality and profanity, says Greco. In which fraction [of the piece]and how long you expose, and even how long the movement is sustained, how often you repeat the movement and in which context it recurs this really is the interspace playing between sacred and profane. Although the body gets overdrawn by a certain kind of virtuosity, by the same token it is profaned too, it twitches, fidgets, wriggles, falls, shaken, and tenses, until it becomes a grotesque caricature. Here grow the resources for a meta-story anchored in the passion of the human bodys history, in its transience, in the traumatic tradition of its abuse, its destruction, its being heroised and romanticized, in its ideological boycott, in the suppression and the celebration of its spiritual abilities and instinctive desires, and finally in its becoming economised and suppressed behind the layers of its representation. Pieter C. Scholten notes: The body is generally given a lot of attention; to its beauty, its physique, its sculpture. These have the connotation of the body being stupid, set and empty. We strive to add a dimension of individuality to the body, in order to make it speak, in order to release the visionary within. With this, EmioGreco, who began with the ballet and later danced with Jan Fabre and Saburi Teshigaware, has gone a long way, and witch incredible speed has created an extra room between past and future for himself. Since 1996 he has been working without Pieter I could never decide to call a work finished in a dual system. Greco and Scholten make the body visible again, and help it achieve new liveliness, between dirt and gold, way of the Cross and hoppy on akkant of his joyicity. fra cervello e movimento.
Emio Greco / Pieter C Scholten duits/engelse tekst met de 7 necessities lit opg nakijken
Het vertrekpunt van Greco is het lichaam zelf en niet de choreografie. Hij ziet het als een kleurrijk toetsenbord, waarvan de toetsen een keur van emotionele mogelijkheden bevatten die versterkt worden door de muziek, het geluid en het licht, om de verhalen en de teksten die in het lichaam sluimeren tot leven te brengen, waarbij de compositie het resultaat vormt en niet het beginpunt. Ook Extra Dry is weliswaar weer een solo, maar geconcipieerd voor twee uitvoerenden en de relatie tot elkaar, die een enorme intensiteit, warmte en glans vertoont: het is ook de eerste choreografie waarin het karakteristieke lichaam van Emio Greco, met zijn expressieve kracht, lijdend en intens, een ander lichaam ontmoet, ditmaal het vrouwelijke lichaam van de formidabele Barbara Meneses Gutierrez, waarmee hij denkbeeldige barrires slecht: nu eens dankzij een explosie van bewegingen, dan weer verstild door zijn weloverwogen aftasten. De paarvorming geschiedt koortsachtig maar vaak op afstand (dit is een paar van het 3e millennium en het raakt elkaar niet aan, het negeert het sekseverschil door uniseks hemden te dragen) De begeleidende muziek is van Wil Selles en is wel infernaal genoemd, maar wij denken dat hij geheel trouw aan de bekende lijn van Greco en Scholten, de extreme gang van het spasmodische stuk waarnaar de titel Extra Dry verwijst perfect binnendringt en de pogingen van verstilde wellust weet te treffen. Hij wordt beschouwd als een van de weinige danskunstenaars die bezig zijn het aanzien van de danscompositie te veranderen.
Teatro Comunale di Moderna Programma 04-12-2003 door Marinella Guatterini vertaling Mies Panneman
vooral met de fascinerende kracht van Emio Greco. De solos tonen zoals ze 9 jaar geleden zijn uitgevoerd, kan bijna niet, daarvoor is teveel gebeurd. Greco heeft zich als danser verder ontwikkeld, de visie en de uitgangspunten van het duo zijn door de tijd heen gaan verschuiven. Het is geen terugkeren, eerder een bezinning op ons werk, zegt Greco. Het publiek krijgt straks reflectie te zien, waar al onze invloeden en ervaringen van de afgelopen jaren op een of andere manier zijn terug te vinden.
I. Starts 2-10-2004 In: Elsevier
Zoals in veel werk van EGPC, gaat het in Extra Dry om het binnenwerk: het lichaam van die danser in verhouding tot die andere danser. Dit bij dit en toen? schreef Dick Raaijmakers in zijn Methode. Geen representatie, alhoewel een enkele soundbite of een terloops gebaar dat wel eens doorbreekt, maar presentatie van presentatie, aanwezigstellen. De vraag is dan natuurlijk, aanwezigstellen van wat?, maar daarover rept de dans zelden, ook eg en pc houden er niet van. Het binnenwerk impliceert het belang van de voortgang re opvatting, (zoals de voorgang het belang van het binnenwerk bewijst) maar benoemt die niet. Dat doen de toeschouwers maar, is de gangbare opvatting, ieder voor zich of desnoods in fora met zijn allen.
Is dit het? Is dit alles? F. van der Putt, 22/9/2010
An extraordinary exercise in stamina, control and concentration, Extra Dry created a primal force field around itself. Its two dancers, who moved in hypnotic synchrony, yet rarely touched, reacted to each other and to an imaginary environment as if their nerve ending were on the surface of their skin. Every twitch, every repetitive skittering frenzy, every sustained but highly alert stillness was filled with potent meaning and expectation.
Hedy Weiss in the Chicago Sun (3)
De solos Bianco en Rosso en het duet Extra Dry zijn al over de hele wereld gespeeld, maar worden nu [sept/okt 04] voor het eerst achter elkaar uitgevoerd. De voorstellingenreeks biedt het thuispubliek de gelegenheid om opnieuw kennis te maken met deze stukken en Page 35 of 75 <The Work> IMK Documentation Model
2.3.3 The Seven Necessities with regard to Extra Dry PC: A necessity, is an urge, also a life existence. An urge to express your vision, and ideas. And the way we collaborate from the start, what the common ground is to develop something is unknown. The only thing Emio could show was his necessity in a very physical way. He would just take me to the studio and show me what was in his body. And from my point of view, I got to structure it. I was intrigued. And from there you go into the strange format of a performance. The necessity came from Bianco, Rosso, and went further into Extra Dry. The main idea in Extra Dry, which was already hidden in Rosso, was a second person. PC: There are always seven parts. Extra Dry uses the seven necessities as the motive for a structure. Through the working process it is a competition between a structure we put on top of it, and a structure the piece has to tell us. So there is a flexibility. There is a rigid way of the structure will be like this, and during the creation the piece should tell us how it is going to be presented. PC: One of the motives was also the word syn, so everything what had to do with syn, synchronicity, all the syns. With every performance there is a wish of structure, but then everything can happen, and we are always looking for new ways to name it and to put it into a framework. And of course this word syn is very clear, as it has this tension with this unisono, just these two people. To keep the strength and quality of the movement, we should find it in synchronicity. That means you embody a quality and you carry it both, without that you try to find opposites, or different spaces. There was the unisono, synergy, two trains passing each other. Then de code de ballet synchretisme. The synergy, the rum cola, which means that if you have your cola and put your rum you still have these two fluids that are mixing, but still you catch the rum and then you catch the cola.
2.3.4 Significance of Extra Dry EG: For me, I am inspired, surprised that its essential totally contemporary. Every time it confirms the opinion that we have on the piece. PC: In all its senses. As theatrical setting, it is a new way of approaching dance. It is not a story, its not an anecdote it is not dance dance, but it is dance dance at the same time, and it also is a story. That paradox is that which makes it such an inspiration for us. But also that the people see it as something special. And that it communicates. PC: Yes, the significance remained the same. I was quit surprised when we did it last time in Frascati. Nicole, was like, this music was from ten years ago, but still how it is composed, and how it is related to the dance is important, and that is what makes the piece stay. Even in ten, or twenty years. It is not only the dance, but it is the combination of using the set, the costume, which is the simplicity, the way how it grows with the dance, the transparency, the view on the naked body, which is not a naked body at the same time. These are very basic things about dance presented with layers. It goes beyond. But it is so simple. Just two bodies, in one space, without any props. But still so rich with the light. EG: Besides the philosophy, the result is the combination of all of us with very few and strong intuition. For me it is the power of the intuition. Like in Extra Dry; two people have a journey in a set of challenge. We were inspired by the work before. PC: It is also the beginning. All circumstances in which you create it. It was hell, yet that is the best way. We didnt have any money, no dancers etc..
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3. Phases and Parameters
To be able to think about the future of Extra Dry, we need to learn about its past. In order to provide insight into the creative process and artistic reasoning, this chapter attempts to reconstruct the choices and decisions made during this process. To understand the parameters of what can change and what not in other words: what is considered essential to Extra Dry the respective performances of Extra Dry have been compared with a focus on: (choice of) dancers, space, time, and audience relationship.
3.1 Different phases in the creative process PC: Well, very globally, if you look to our creative process from the beginning towards the end result, its still comparable from the first moment that we worked together. There is a zero step that is more the talks. You have something in common that is a fascination and you were rounded by words looking for a vocabulary. From Bianco on it was also the criticism of the dance world, commenting on other dance performances. But also the fascination in each other in a social context. Than the first phase is the most difficult to catch and also if you want to document it, its almost impossible because for me, its about ideas. Its the same when I write the first words that become phrases. When a composer writes notes and suddenly, you know its there, its fragments. Its always a question to us; well, how it comes out of the body? Emio and me in a studio and with Bianco, it was okay. Let it speak. It was almost like that because we wanted the body to dictate the structure, the performance and everything. So we always go back to a zero point and then, of course, its now easier than with Bianco because there is a knowledge somewhere. Also the body is trained now in a subtle way to that dance fragment, thats what we call, then, the end of phase one, is that we have dance fragments. That means there is a, lets say, series of movements with an intention which you can grasp, which you can repeat. () Phase one is the hardest and the most challenging to say okay, how can you catch it? How is it coming from us being there in the studio, started to dance with the phase one this may be already the title. This may be a piece of music if you think there we want to work with. But Page 37 of 75 IMK Documentation Model
then how is it suddenly coming, these dance fragments. But at the end of phase one, we have a serious amount of fragments which, again, you can name it, you can circle around it, you can speak about, I mean, you can name the quality. They have titles, and these can be stupid titles. Then you have dance fragments. To define what is a dance fragment; they have a title (you can name it), an internal logic and are reproducible. And with these dance fragments, we go into Phase two, well, Bianco, its still then youre going to develop them. But now, with the last performance, if you see beyond, then you go to share it with your dancers and from that were going to develop them with this music coming in that were using the elements, like music also, to sharpen them, to develop them further. At the end of phase two, there is a sort of way already and logic from a follow-up. At the end of phase two, there is a presentation which you can say okay, this could be a proposal from the follow up, from the dance fragments which we had in phase one, develops. With also a proposal with music which doesnt have to be that the music will be exactly the same. And then, to finish, then you go, lets say, in the theatre, thats the last phase. Phase three. Then, of course, the light or the other elements, the theatrical space comes in. Also theyre used to even sharpen and to make this internal logic from the dance fragments even more clear and readable. So they can change. But the funny thing is, its very rare that an internal logic from phase two is going to change in phase three.
3.2 Parameters of change PC: Over the years Extra Dry remained very much the same. Other pieces have changed much more. In Extra Dry we didnt change something essential. Of course, we made some changes, but these are not very relevant. Basically, its the same piece. What did change a lot is the speed, because of the necessity, the urgency. EG: The first one, the premiere, was the best performance. Also a few others in Russia, maybe because of the condition, the surroundings. I think Moscow was one of the most exciting. PC: I think in Russia it all came together; the urge, the public, the theatre. That is so important; the needs for these people to see something, the response during the performance. EG: People were crying, I remember a girl came to Andy, he got a ring from here mother and she ran away crying.
Q:
Which elements are crucial to Extra dry, and should never change? EG: I would say the parallelism. PC: The layers of synchronicity, and the statement about choreography. It becomes one body through different bodies. Once we thought we should create an Extra Dry for eight or ten people, but thats impossible. It doesnt have that same impact as when you do it with two people. PC: When I say that there is a sort of distinction between the structure, and between whats happening in the process, then I talk about that we facilitate the body, with structures, there arises a certain quality, that we have to understand. And if you relate this to the structure, you create the dramaturgy of the piece. Or you create the dramaturgy of certain fragments. And that is also if you talk about the pre-choreographed. That kind of knowledge is not coming from a rigid thought before-hand, its coming from the body. It is the dramaturgy of the flesh.
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<Phases and Parameters>
3.2.1 Dancers PC: In the beginning we didnt want to have other people around. But after two or three years, someone could enter, but still that someone was together with Emio, still almost one body. This prevented us from dealing with psychological structures or story telling. So Extra Dry is also a solo for two. This is also a vision of our company which is this famous word of synchronisation but also the way we relate with other disciplines: Its to put things together, its not to create a fusion, its to sharpen and to strengthen the other elements. So if we work with live music, its not to make a soup but to strengthen each other. Thats the goal. Thats the ambition. The same goes for the dancers.
EG: The first dancer was very afraid of the piece. It was a single dancer, he had is own character and he had been doing many solo projects. And then for a long time we were left alone. People auditioned We kept looking around, somebody proposed Andy. Andy came to the studio and it was not prepared, totally unfinished, but we took the risk to go with them. Because Andy had no experience it was really the perfect match. He could ignore limit, no limit, no sense of risk, he could just It was a risk because everybody had such huge expectations of this piece. When we decided for Andy, everyone was like, are you sure about doing this. PC: We met Barbara in a workshop in Vienna, and there we liked her very much. Also because of the energy, she had this kind of urge. We then invited her for this other project. And at the same time Bertha was in the studio who was completely different from Andy. EG: Later others came, like for example Niko has a good sense of timing, and precision, also because she is Japanese. Niko is more formal, and Sawami more reflective. PC: Thats also the time we started to have the company, so thats important. Its a piece that has everything inside, and if you can dance Extra Dry, then the work is closed. Then you have it in you. It is almost part of the education in being part of the company. PC: We never performed with two girls. EG: It would be possible because now we are not so afraid anymore to take chances, that something only happens if you have a specific choice. We were more afraid before. But it was also the pressure from the outside world. Then you are very careful, but now we are not that careful. EG: In the last version is with Vincent and Victor. And they are very diverse, in length for example. PC: This was quit important. It should be so much look alike, and to play with these two as one, and the more they can look alike, the more clear the difference will be. This is an important motive. This friction is what we wanted to research. PC: At a certain moment you [the audience] break through the puristic way of how it was created. And you are aware that it is for example a women, because through the costume you can see the breasts. So it is very clear that men are men and women are women, and at the same time you dont do anything with it. Its completely sexless at the other site. So after half an hour, or fifteen minutes, it gets another layer. So first you see a man and women, you see breasts and whatever, and then you go into the real quality, what it brings to you. IMK Documentation Model
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Q:
Is that something you would like to see in the future happening as well, that kind of change? PC: Yes, because then we then thought we should also do it with people of eighty years old, two dancers of sixty. Or an Extra Dry created with children. EG: This is still a very serious thought. Q: But then you also said it was one more experience, and it was one less experience. Andy and Barbara you were the experienced ones, and the other ones were not that experienced. EG: And also Ty was very square. He tried to be muscular. .. It was really like father and son, that was also touching. There is so much from inside, that in the end you show your face, everything becomes like radioscopy. PC: We started with two people, but at one point one dancer couldnt hold it anymore, and she needed help, and then the other person came in. She couldnt finish the trip what was needed for the right quality of Extra Dry, and then new layers are coming in. Its another Extra Dry, and maybe not the puristic one which we created in 1999, but it adds another layer. EG: Its also because it happened in the moment, and you didnt recognise the change. Sawami was for example also bald like me. Nobody could find out where it happened. It was also a beautiful example of disappearing, one person is sucked in, and another one is produced, but nobody sees when. It was a nice experiment. But in the terms of leaving the body, its not the real one.Its almost a purification. PC: Once we thought we should create an Extra Dry for eight or ten people, but thats impossible. It doesnt have that same impact as when you do it with two people. Then you need something to work with, other theatrical elements come in; position of space etcetera. Really stay together, and walking a whole path, a journey.
worden. Het gaat allemaal te snel om precies te zien wat er gebeurt, maar plots staan ze er met zijn tween, Greco en Greco junior, temidden van een gigantisch goudkleurige schrijn. Greco danst een duet met Andy Deneys, een student aan P.A.R.T.S. De dansschool van Anna Teresa De Keersmaekers. Hij is een jonge danser die precies even groot is, even breed, en met een even glimmend hoofd. Greco danst een duet met zijn evenbeeld. Toch is Deneys niet zomaar een kloon van Greco, al dansen ze gedurende het merendeel van de tijd gelijk. De differentie drijft de voorstelling hoewel ook de muziek en licht een duit in het zakje doem om het geheel een spannend ritme te geven. Deneys beweegt soepel over de scne, hij vloeit en golft doorheen een grillige ruimte en danst daarmee een parcours voor aan Greco. Het is de laatste die er op ongedwongen wijze nog enkele scheppen virtuositeit bovenop doet, en stiekem een randje lijmt aan het gedroomde evenwicht. In tal van bewegingen spant Greco een extra spier, toont zijn vlees in de gladde kompositie. Met kleine schokjes kleurt hij zijn danspassen in, alsof het lichaam zijn deel weer opeist. De dans weigert te stranden in harmonie, de synchrociteit lijkt uiteindelijk weer een nieuwe verstikkende ruimte te worden, na de spetterende ontsnappingspogingen uit de ruimte van de bhne.
Stirred, not shaken door Jeroen Peeters. In Veto nr 30 dd. 10 mei 1999
Door zijn klassieke balletopleiding heeft Greco zelf als het ware een voorgevormd lichaam, als was hij een insekt of een pauw. De fascinatie voor dieren volgt zo als beeld ook uit Grecos idiosyncratisch bewegingsidioom elke stilering lijkt voort te vloeien vanuit een organische band met het lichaam. Deze week krijgen we dus het derde deel te zien, Extra Dry. In een volkomen duistere zaal slaat onder loeihard gedonder de bliksem in, meermaals. Die enkele momenten zien we een strak gespannen Greco, in positie om gelanceerd te Page 40 of 75 <Phases and Parameters> IMK Documentation Model
3.2.2 Space Q: Can you explain a bit better how that works then. You say, they create a space, they can move about in specific ways, or in their own ways. How much freedom is there? PC: Of course its a set design, a box is already a set design. But what we mean is that the object is not really something in space. Especially in the beginning for Bianco, Rosso and Extra Dry, it was to create their own space, we didnt wanted it to depend on theaters, or other influences, it was very clear that the body was into that space. PC: This harks back to the dramaturgy. It has to do with the dramaturgy, the quality of the fragment. Like in the beginning there is almost no space, there is just this one person standing there. And this other person has his space, but his memory is already ahead. But he doesnt have the space yet to create literally this space. So its more in his head, and he has the space of one meter around him. But the whole sequence that he is into, relates to all the space that you see. So if you analyze the beginning, you see all the quality of the fragments already inside this limited space he is doing. And then on the moment that he goes there, then he starts. And then they start together to create it. EG: So maybe what you want to say, once they define the space, its not broken by other choices. Everything is very measured, it exists only because its here not there, its not yet. The proportions are very important.
Het spel in de ruimte suggereert een betekenisvol onderscheid tussen voortoneel climax) en achtertoneel her-beginnen zijtoneel/hoeken (rust en luwte) en centerstage (basis). Maar tegelijkertijd nemen de dansers de ruimte met zich mee, dan draait de ruimte om hun ahw met hen mee, waardoor voornoemde waarden volledig veranderen (bv voortoneel wordt herbegin en climax op zijtoneel) (zie ook eindbeeld)...In ED speelt de vlakte een grote rol, het toneel is minder binnenkamer, de grot wordt verlaten, de dansers gaan als het ware de woestijn in dit vgl met eerdere voorstellingen; maar ook als contrast met de kleine ruimte waarin zich de verstandhouding afspeelt tussen de twee synchroniserende dansers, de minimale ruimte die door hun twee lichamen bestreken wordt). Tegenover de weidse horizontaal staan talloze verwijzingen naar de vertikaal. De verticale projecties strekken zich evenzeer ver buiten het individuele kader uit. Dit geeft het geheel een existentile ondertoon.
Is dit het? Is dit alles? F. van der Putt, 22.09.2010
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3.2.3 Time EG: Time is important but it is foremost the speed. In all our work speed is important, it is the necessity. Especially the piece where Im inside, theyre always much faster at the beginning than afterwards, but not because it is a problem of energy, its for urgency. I realise more and more now, that because our pieces are always going, the place where you stay is never the right one, its never the status quo. So you dance because you are moving, you are going somewhere. You are in contact, you are creating something. Here, you create here, then its from, and its constantly shifting. There are moments just where, the persuasion that you are now, its very temporary. Its for the sake of and where is that urgency, all these moments that you see in the piece, that we grasp a certain way. You go there with a certain preoccupation and a need to, not with the gesture, not that you go here.
3.2.4 Audience PB: Improvisation is key for this group. But there is also a clear structure in the different performances. You notice them after four or five performance in the same period/season. For example: the moment the public needs to awaken, by making noises or bringing silence, these are extremes many lights, few lights. The works refer to each other. Many of the movements recur in different performance. Looking at it from the dance movement, there is reflection and repetition of movement, but also from a light perspective there are similar moments that can be found in the whole repertoire. There are many of these comparisons that are experimented with performance after performance. PB: The public is at least 50cm away, but preferably more. This is different in each theatre When they enter after the first 10 minutes of Extra Dry they preferably should enter via the balcony or the back, because otherwise it disturbs the performance. During the first 10 minutes of the performance no one should enter, because it starts with a quiet part.
Interview with Paul Beumer by AD/NIMk team 22.03.2010 (translation AD)
During the discussions more than once the term original phrases was pointed out. These phrases have a begin, end, concept, quality and often a name. The composition gives the order, length, perspective and additional material. Time is defined by phrases and scenes, length is the fixed time. One of the dancers (Emio) keeps the timing. BB: If the intention is clear you have the timing. Time=equal breath=equal intention. One has to be aware of these 2 layers of the movement. Phrases are structured in a box. Box = original phrases to do one after each other. Order, length and perspective can chance. In learning Extra Dry, one learns 10-12-20 phrases and these will be set in order later on. The connected phrases are a scene. The dramaturgy is based on the phrases. Extra Dry has around 23 phrases, some repeat through scenes, many elements from other phrases that appear later in the performance.
Discussion on notation Extra Dry, Bertha Bermudez and Barbara Meneses 2009/2010
Concentratie op synchroniteit en verschil vanuit innerlijk functioneren Minimale verschillen in de detaillering van de beweging worden tastbaar door een intense concentratie op het synchroniseren van adem, energie, beweging, houding, richting, focus, intentie en vorm. Deze innerlijke concentratie van de dansers overstijgt het representatieve karakter van het optreden, waardoor de toeschouwer zijn voyeurisme kan laten varen en een intieme blik krijgt toegespeeld op de activiteiten van de dansers. Dit binnenwerk wordt een paar maal onderbroken, aanvankelijk door de subtiele gestes-blikken, gebaren- richting publiek, welke uiteindelijk culmineren in het buiten het kader stappen van de dansers, wanneer zij vlak voor de finale op het voortoneel een informele uitwisseling hebben met het publiek, daar stomweg te staan met hun bijkomende lichamen, tussen de kaders, noch acteur en noch toeschouwer zijn, of misschien juist beide. Het scopofiele wordt daarmee voor een moment geheel doorbroken
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Bewust effect Hoewel voornoemde concentratie en intensiteit van de lichamelijke inzet vergeleken kan worden met een trance-achtige situatie wordt deze nooit bereikt. Er is altijd een zeker bewustzijn van wie wat inzet, hoeveel van wat en in welke mate. Een zekere theatraliteit komt steeds om de hoek kijken. Je zou dit ook anders kunnen formuleren: naarmate de intensiteit toeneemt en het doordoen van de dansers steeds intenser wordt of specifieker, wordt ook langzaam het publiek als derde partij toegevoegd. Dit groeiende appel verstoort de mogelijkheid om in trance te raken, zowel voor de dansers als voor het publiek.
Is dit het? Is dit alles? F. van der Putt, 22.09.2010
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4. Prerequisites for Reconstructing Extra Dry
In this chapter we explore what is considered crucial to future reconstructions /re-articulations of Extra Dry. The chapter focuses on the preparation phase. This information may be of particular interest to dancers and technicians. The chapter hereafter will elaborate on the scenographical elements.
4.1 What dancers need to learn PC: In principle, we never give things on video or DVD to the dancers. Sometimes if there is an emergency because we are not there. I think it can also be dangerous because you see a result, so you copy from the outside. You need to know from the inside first before you go to see it because then oh, yes, it has to be like that.
PC: For me this (the structure) is still existent, and its important for Extra Dry, but for the people who interpret it its not so important anymore. If there is a new dancer I am not going to lecture them about this. Q: How does that work then. How do you lecture the new dancer then? PC: Thats a good question. Somewhere is always the frustration that you cannot go through the same creation process, especially for Extra Dry. You could almost say that it is the only way how, you can catch it if you really go back into pure form. But that is impossible. But you have somewhere to go to learn steps, somewhere somehow. So you go a little bit backwards, it is totally against our ideas, but somewhere you have to learn. And the good thing is then to pose questions. Questions about where does it come from. What means syncope? EG: One concept that we worked with is also the not yet. It means that maybe you divide a space in right and left, which is also a huge approximation. There is a moment when they go from the left to the front, from the left to the right. There is a moment there is this movement there. Usually this moment is like a resistant to the gravity, you fly up, but the body is sitting. Also when it finally happens, it shouldnt happen because Page 44 of 75 IMK Documentation Model
Q: PC: EG: PC:
EG:
you fall, but because you know, yes it has now. And this has to be shared with the two dancers. Another example, both of the dancers are here, there is a moment of suspension. What is in between them that is also up to them, what is the state of their body. Do you teach the dancers? The steps and the awareness? Yes, sometimes we do the big work, and then very basic information, like steps can be done by Barbara, or somebody else. There is no hierarchy. Everybody can contain the whole. But what kind of hierarchy you mean. Of course, especially with Andy, through the experience of Amber there is a sort, in the way that he [doesnt finish sentence]. But on the other side of course you have to listen also to him, to make that same trip realizable. So its an interesting question. There is an hierarchy. Oh ya in that sense, aha! Thats evident. The transfer was opened also through the performance. Not in the studio, but every performance was a way to transfer. And thats why Bertha and Barbara are so rich of things, they really danced with me, for a long year. I retransmit to them what I thought relevant to transmit. And they have the most embodied experience. In Extra Dry you enter and every time you think you arent going to make it to the end. The work is totally aesthetic but also constantly bombed by danger and a balanced situation. Everything has to be variable and open and then you can communicate, and transmit. The not touching was also about that. They never touch, but the touching is much more interesting than the neo-classical touch that we are used to see in dance. Which in fact breaks the real. The subject is broken because there is a more social element that you bring in.
4.2 Warming Up Emio Greco communicates his intentions about movement and the body to the dancers through a series of exercises, comprising the warm-up. Participants are guided through a specific warming up in which the body is being freed of formal conditions with the purpose to come to a new vulnerability and to experience the helplessness and hopelessness of the body. Detailed exercises help to break resistance, to open the body for a new physical understanding.
Jeroen Fabius, 2007, Company in school, p.21
1 2
Breathing is a way of giving, a vehicle of information in which you project the situation of your body outside of yourself. Jumping means deconstruction for the sake of reconstruction. Its intensity encourages physical strength, resistance, regeneration and reconsideration of energy. It represents the aim of not having a body. Expanding is a further development of Breathing and Jumping in which the first personal choices are taken. It depends on the dancers critical approach to use what is available and at the same time not to be satisfied with it. Incorporation is a gradual decrease of length and weight, exercising the ability of control and measure of time and space with the need to explore the outside.
The warming up consists of four stadia: formulated by Bertha Bermudez, in: Jeroen Fabius, 2007, company in the school, p.21
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<Prerequisites for Reconstructing>
Through a series of warming up exercises, described as the four stadia of intention the dancer becomes aware of EG intentions about movement and the body. They say it takes a year for a dancer to really star to live in the work. In that year the physical and mental practices start to sink in and become embedded in the subjectivity of the dancers. [Jeroen Fabius, 2007, p.22] The trust in an intelligent body, i.e. the intrinsic knowledge of the body, is acknowledged here. In the range of divergent processes there is an ethic of how the knowledge practices are shared, not through correction, but through a hesitation and patience, waiting to see how a movement is picked up by a dancer the next time around. [Jeroen Fabius, 2007, p.22] [quote interview Barbara lab #1]
Jeroen Fabius, 2007, Company in school
4.3 Installation How to notate Dance? Since 2004, when one of the EG|PC Salons was challengingly dedicated to the implications of building up modern repertoire and of archiving contemporary dance, EG|PC has been researching ways of documenting and analyzing their work. The ultimate aim is to develop an information resource that draws from their past, present and future work. A living archive based on principles of movement and choreography that are constantly evolving. The development of this archive has taken place along different paths: in 2005, EG|PC was in residence at the Amsterdam School for the Arts where they explored themes related to reproduction and authenticity, new systems of notation and dance idioms. Connecting with international researchers to explore these issues further, took the notation research project to the next level. The research team uses documentary filmmaking, existing dance notation systems, interactive media design, gesture analysis and insights from cognition studies. In October 2007 the first results of the project were presented to the public in the form of the book Capturing Intention and the Interactive Installation Double Skin/Double Mind. The team aims to apply their findings from the workshop experience to the creative process in the near future. The workshop Double Skin / Double Mind represents the basis of Emio Greco | PC creative work. Through the years this workshop has developed into a clear structure in which participants are challenged to explore their own creativity by learning new ways of dealing with their bodies. Breathing, Jumping, Expanding, Reducing and Transfer are the terms that describe the main parts of the workshop, in which body and mind cooperate to achieve a physical metamorphosis, blending the form of the movement with its intention. The Interactive Installation Double Skin/ Double Mind is a virtual version of the Double Skin/Double Mind workshop. The installation offers participants the possibility to take part in a virtual version of the workshop in real time, while receiving verbal, physical and peripheral information. The design made by Chris Ziegler (ZKM Karlsruhe) consisting of an aluminum frame construction with one projection screen, four sound speakers and one tracking camera surrounds the participant. The movement tracking program Gestural Follower developed by Frdric Bevilacqua (IRCAM) compares the different data of the filmed version of the workshop with the real time data of the participants movements. As result of this comparison, different forms of feedback are given: sonification, visualization and music will accompany the participants while mentally and physically travelling through the Double Skin/Double Mind structure.
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4.4 Workshop A workshop, the teaching method, shows the complexity and important aspects of the works (from small to the more important parts). The teaching reflects the creation process of Emio Greco. The workshop starts with the elements, followed by the phrases, and the third part consists of connecting these and show how they travel in space. During the whole course there is a constant emphasis on the intention, meaning and state of mind of the specific parts that are learned. At the end of the training, the deeper level of the course, extra information concerning performativity is given to the dancers, this is a personal exchange because every dancer is different.
Information provided by Barbara and Bertha, 28.10.2009
PC: Then at the same time also the workshop came in, theres also the interview with [unclear] it was also clear that that also has to do with transfer at [unclear] forest and it was very helpful. When we started to do a workshop, it was after the Bianco Rosso with this, that you have to put it in names, so you document also for yourself, because it doesnt transfer. You have to communicate it towards the students when they [unclear], which we had then which then became the [unclear] Again this was very helpful also to our own work, so we had to name it. At one point we had a resistance for documenting, existing [?] for words, at the other side we see the necessity and its so needed that you put things in words that you can find the right And since the beginning already we try to find a new language which is also this, kind of, [unclear], also in the salons which we [unclear] dance critic, what is the new language?
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5. Staging / Scenography
In this chapter we shall explore what is considered crucial to future reconstructions/re-performances of Extra Dry. This information may be of particular interest to choreographers, dancers and technicians who want to learn what it may take to perform Extra Dry. Each section looks into a crucial element of the performance and describes the necessities and parameters of change concerning the scenograhic elements, with a focus on: stage, cues, light, sound, hardware/software, costumes and others.
5.1 Collaboration artistic team PC: Its almost a paradox; the ideas are coming from Emio and me. At the same time Henk [light] and Clifford [costumes] understand our way of thinking, our logic, they can think with us. In that sense they are completely equal. It is not that we start Bianco and then follow a light designer. That would be completely different. These people have the knowledge and an authority, yet at the same time they dont want to come with models. That would be totally not acceptable. For us it was also very important to protect the work. To say, its the body that dictates. For example, the light design is constructed in a combination of how it relates to the body, of what is necessary. There is not a moment that a light designer comes in, he looks, and designs the light. Of course that can still change, but we never worked in such a way.
Interview with EG|PC by AD/GW 08.10.2010
EG: Were not all equal, but everyone is free. PB: Normally we travel with two technicians. Pieter is always the first contact, and in the case of ED I am the technical coordinator. Depending on where I am or where we build the performance I will be the contact person. Pieter makes an estimation on the proceedings of building of the performance and from there he decides if we need a run-through and at what time. Based on that we decide if we are also making a technical run-through to check the lights. Pieter talks to me and I talk to the rest of the Page 48 of 75 IMK Documentation Model
technicians. Together with them we prepare the building. I also communicate with the theatre whether we make a run-through or not, what time and at what time the doors open for the public, what we do with the audience who are late, merchandise and all other things. Pieter is only there for the sound check. He is the one who decides, he makes the last call.
5.2 Stage PC: We wanted to create our own theatre. Not depending on other theatres. This is our limited space, and there it has to happen. And this we encounter the first time with Bianco, and in Rosso it became more clear. It is a playing with the other worlds: The world behind the limited space of the box. Extra Dry was the beginning of that other world. We wanted to break it open. With the following pieces we still had a box, but it had a lot of transparency, there were big openings and one could still see the world behind it. Extra Dry also has an opening, but that meant that there was freedom to come in again. It was not yet the freedom to see behind it. For me and Emio, we wanted to have a cordon sanitaire. We wanted to create our own world, and didnt want to involve ourselves completely with other worlds. The other world was the world which was not ours. And this was our space, and our way, and our manifest. So there is a very basic idea behind it. We were quit rigid. EG: We were protective, in the sense that we wanted to define ourselves; to position ourselves very clearly.
PB: We make the construction of the box ourselves. It is a construction of a number of metal tubes that hang. They are not specific. If we go on tour in the Netherlands, we make sure we bring our own tubes that we hang at the right height. If we go to for example Italy than we rent to the tubes on the spot. The tubes are hung in a rectangle and from this we hang the gold curtains. It is envisaged that it should be hanging as tight as possible, without any wrinkles. On the floor we put wooden planks on the curtains, as weights. The shape of the rectangle, and the height, in my experience is extremely variable. It is measured according to the lights and the position of the audience. The curtains are seven meter high, and the maximum width is 12 meters. If you go beyond 12 meters you will get problems with sight lines. At times people in the room can no longer see the corners. Smaller than this we cant go, larger is possible, but it might lead to problems with the audience sight lines. The moment one of the dancers goes through the curtain is one of the things one should keep in mind when building and measuring. The location of this gap is at least Page 49 of 75 <Staging / Scenography> IMK Documentation Model
two meters from the floors edge. The dancer must also be able to walk behind the curtain, and between the front curtain and the audience must be at least 50 cm, from there it is about 2.70 m to the gap. Next to the golden curtains we use black stage curtains that are provided by the theatre, these provide the frame of the scene. We hang two on each side and then one behind the hole where the dancers are going through so the audience will not see the stage. And we also use horizontal curtains to hide the lamps hanging in the grid.
5.3 Cues11 PC: There are cues. Sometimes they are very clear, others are freer. It is always a sort of overlapping. You can play with that, but that is always the difficulty. When a technician has the right sensitivity, then you can take the freedom. On the moment that the technician doesnt have it, then you have a problem. You could make the statement that the quality of the performance is depending on the technician who is doing the music and the light. With performances from other companies that is not always so. In all our work you directly see it, when a technician doesnt have any sensitivity.
PC: Emio and I make the cues for the light and the sound. They are variable. Its not that you have a tape running for sixty minutes. Things are defined, but dancer, sound and music follow each other.
PB: Some cues you have to do by your own gut-feeling. You see, experience and almost feel the performance and know why something needs to be done. Other cues are more straight forward, because if you dont perform them the result you want in 10 min time wont happen. When differences with for example other dancers occur and are discovered, they will be discussed together with Pieter. Essentially cue lists dont change, but the intention of the light, or the intensities do change. We dont have the exact intensity of the light on paper. The positions are stored in the format of the light table. But if the light table is gone there is nothing on paper. We have a server at work with backups of previous performances. The cue list shows much better the intent of the performance, than in the light computer, the control equipment.
11 See the Appendix for the cue list.
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<Staging / Scenography>
5.4 Light PC: Important is the costume effect. It was important to have this golden color, and also be transparent. Rosso was more closed with the red, and this should keep more opening to the outside world, thats why in the end there is light behind, there is a world behind. Thats also quit important. EG: The difference also which is the best option, in Rosso we make the light direct. The other important thing was also that the light should be perceived, but not seen. So the audience doesnt see the source of light, but they are just sensing the light. In Rosso we did the opposite; it was very evident, very industrial. You couldnt see the source.
is very specific in what you can do with it, and it is easier and faster to work with. I would not dare to use another lightbox when I dont have an extra day to get to know it. There are ninety scenes each having their own securities and effects that cannot be copied in other lightboxes. Dimmers: We use a lot Parre lights, a certain type of dimmers and they tend to make a sound. There is no intention to have those, and now there are dimmers that can filter it out. Is that a conscious choice or not, its just a case of product. And it helps to ensure that we choose a dimmer type who does not make a sound. We are aware that we use Parre lights that have a certain negative quality, and we look for solutions to minimize it as much as possible.
In bianco the light plays a fleeting game with movement in a extremely bright space. In the unavoidable space of ROSSO the light is a more pushing, almost controllable force in the performance. EXTRA DRY will be predicted by the confrontation between light, dancers and music. The light will be manifest in unexpected moments. Confrontation will become of fight. A fight between the movement of the light and the movement of the dancers. No environments will be marked out by light. Light appears and disappears in relation to the fight. No clear cut previous light spots and -plans. Will the movement be given by the light or is it the other way around? Does one try to meet or escape from each other?
Henk Danner translation GW, from the EG|PC archive
PB: Emio and Peter want to achieve a space that is not visible. Therefore, in some performances they are, and others theyare not, using light that shines in the audience and dazzles them. In one theater, we need it because the space itself is too bright, and in others we dont because the space is dark. The variable depends on whether the theater is dark enough, or that there is something from the spill light from the stage or the auditorium. If the room is dark enough that you do not see whats on stage than we do without lights. Once you see anything of the dancers there is a greater need for these specific light: audience blinders. PB: We use only our own light table, which we always which bring with us, because it Page 51 of 75 <Staging / Scenography> IMK Documentation Model
5.5 Sound PC: It was when we started with Bianco, and then Rosso, where we actually discovered how we could use sound and music to create dance. To create dance, is to give meaning and value of the intention, the construction of dance. In Extra Dry I developed that further. With the creation of Rosso I had thousand of kinds of music, and could really order and structure and think about possibilities. I had that kind of knowledge and experience and memories of music in my mind, when I started with Extra Dry. We really took the time to find the right music for the right intention for the right moment. It is like you use thousands of musics, you go through the process, and then you go to define, and in the end it becomes a sort of musical score. It has its own composition. The music becomes dance and the dance becomes music. That is the way we use the sound and the music. EG: To make it more difficult. There is this knowledge of the dancer which is submerged in the musical context, the surrounding. The body of the dancer is totally in shock by a wall of music that suddenly opens. Choreographically, we go to music that still has to come. PC: We try to reach that state where the sound becomes a physical aspect, you feel that there is a resonance in the body, the representation of the dancer. EG: Other times, it is very physical. You feel the music through the skin. It is almost that the music is in the space. When you move through the space, you touch that noise. Towards the end, it is very chopped music, so you define the space through this note to keep going. It is a complete experience. PC: The volume is also quit important. It depends on the way you deal and relate to an audience. Every time I do it, it is different. It is the way of how you sense the communication, which has also to do with a live performance. The way how you catch the audience. PC: In Extra Dry there is a continuous tone that builds during the fireworks, and this stays till the end. EG: There is always music, always some sounds, in Extra Dry. EG: For me it was a sense of presence. A habitat inhabitated by something, an energy, a somebody, or an entity, and the moment is recognizable where it originated, and where it ends. It was also to create a horizon. A fixing point.
PB: As far as I can remember Pieter has always worked with two CDplayers. So, there is a table with the audio CD playes and a PA of the theatre it self. The sound quality depends on the theatre, and we have in our technical rider the specifics on what we need and ask tem to gives us anything that meets the requirements.
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5.6 Computer / Software PB: One computer runs Windows and the other Unix, actually it is two different programmes but both based in Windows. I think they are programmed in C++ and converted to Windows but Im not sure. For the light we use standard software but that is in development. Also the light cable computer is standard. That software is still developing rapidly. Every six years there is an update. Thats a part that changes by the software, and probably has implications for what is says now.
Interview with Paul Beumer by AD/NIMk team 22.03.2010
5.7 Costumes Q: PC: EG: PC: The costumes in Extra Dry are transparent and become wet, almost like a second skin. Is that important to you? Yes, that was the perfect match. Because it tells its own story. Itssilk Het kostuum plakt aan het lichaam, ok denk minder aan transparant maar wel aan lichaam tekenend, plooi en kreuk ultra-light plakt door zweet aan het lichaam. Misschien Hierdoor ontstaat transparantie,, eenvoud en simple, maar blijft toch actueel. [Pieter reads from a fax letter: Fax from Clifford Portier to Pieter C. Scholten, 30.01.2009] Extra Dry was pure, just silk White, the body absorbed it. For us it was the success of achievement of not having costume but still something very important. Not naked, it was further than naked. The colors were quit important. Extra Dry was really gold. But the costumes should thus be no color, white should go with the skin. Because at the moment its transparent it gets the skin color. Also because it was light, its luminosity. The white reflects. And what if you take a black dancer then? For Extra Dry it would be beautiful. But of course the color then is different. You create another color to match to whatever. It starts as a screen the costume, a screen of the body. Not touched before you start to sweat. Create this picture of two people very far away, very holistic. But this can be for any kind of skin. So you could also imagine if this specific fabric was never found anymore that you could take something, else, but you wanted to keep the transparency, the second skin, the nakedness, showing the body. Yes absolutely.
EG:
PC:
EG: Q: PC: EG:
Q:
EG:
The costume stays tight around the body and dress-like. Material wise I think less to transparent but more body tekenend. Pleat & crease, ultra-light, sticked by sweat to the body maybe transparency is given, silk plonge, plain & simple and still actual concerning the leather idea: its to obvious an idea (do you understand what I mean with this) so no further Page 53 of 75 <Staging / Scenography> IMK Documentation Model
research into this! The feel of the costume should be the same as the feel of air, fleeting.
Fax from Clifford Portier to Pieter C. Scholten, 30.01.2009
It is important that the audience can see exactly what is going on with his taut, muscular frame. Costumes are important to show the skin, following the lines of the body, he says earnestly. to portray the transformation of the body. You end up with the visibility, the sweat.A lot of extra dry is about the line between the sacred and the profane, visibility and invisibility, the concrete and the abstract. And thats were the tight white dress comes into it: its not just a dress: it fits close to the body, it allows movement, it doesnt take to much attention, but shows the metamorphosis with the body heat through the piece. There is moment where the dance is like streams of energy an thought, where two bodies enter each other and split again, like evaporation, disappearance and enlightment.
Greco: nothing to hide, by Don Morris In The Scotsman 25.08.2000
Quote: Emio Greco Ik hou ervan precies te werken: als je je been of arm exact in de ruimte plaatst, als je oog hebt voor details, kun je je idee beter overbrengen. Ik hoef niet per se met perfecte lichamen te werken. Als ik zelf dans, voelt mijn lichaam het meest natuurlijk in een jurk. Een jurk bedekt het lichaam niet helemaal en danst met je mee. Dansen in witte zijde dat het licht weerkaatst geeft een engelachtig soort visioen, terwijl zwarte kleding absorbeert. De kostuums zijn bij ons nooit toevallig, ze vormen een belangrijk deel van het werk: kleur en materiaal bepalen een groot deel de stemming van een stuk.
Emio Greco (1965) door Irene Start In Dans (2004)
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Appendix
A. Biographies EG|PC B. Team Extra Dry C. Play List D. Technical Rider E. Cue List F. Light Plan G. Soft Materials (Doeken) H. Structure Extra Dry I. References
Appendix A: Biographies Emio Greco | Pieter C. Scholten and dance company Emio Greco | PC Emio Greco and Pieter C. Scholten have worked together since 1995 in their joint search for new dance forms. Out of curiosity for the body and its inner motives they created their first work: the solo Bianco, which became the first part of the trilogy Fra Cervello e Movimento (between brain and movement). They also wrote a manifesto setting out 7 basic principles of dance and their impact on the body and the spectator. After the internationally successful dance productions created between 1995 and 2001, from 2002, Greco and Scholten shifted the perspective of their company Emio Greco | PC to opera, music and film. At the request of the Edinburgh International Festival they directed and choreographed two operas, which included Glucks Orfeo ed Euridice. Their collaboration with Swiss composer Hanspeter Kyburz in the on-going project Double Points:+ followed shortly after. Together with Toneelgroep Amsterdam, Greco and Scholten made Teorema, based on a film and a novel by Pier Paolo Pasolini. In 2006, these interdisciplinary excursions gave rise to the highly acclaimed dance production HELL, the first part of a trilogy inspired by Dante. The second part, [purgatorio] premired in 2008 during the Holland Festival and included compositions by contemporary composer Michael Gordon and classical composer Franck Krawczyk. In 2009, a special collaboration took place between EG | PC, star violinist Janine Jansen and clarinettist Martin Frst, Double Points: Janine | Martin. The third and final part of the Dante trilogy, you PARA | DISO had its world premire in Monaco in July 2010.
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Appendix B: Team Extra Dry Lighting Henk Danner (The Netherlands) developed the stage and lighting design programme at the University of Amsterdam faculty of Theatre Studies, where he currently works as lecturer. He has created lighting designs for a number of Dutch as well as international theatre and media artists. Danner has worked with Emio Greco | PC since 1996. Costumes Dutch fashion designer Clifford Portier (1966) graduated from the Fashion Academy Charles Montaigne, Amsterdam. After his studies, Clifford moved to Milan. He specialises in mens fashion and has worked as a designer and concept designer for various international fashion brands, including Mexx and Falke. At the same time he continues to look for new forms. His passion for contemporary dance resulted in a special partnership with the internationally acclaimed dance company Emio Greco | PC. It led to a new approach to what a dress can mean. The design does not only cover the body, but also reveals a life of its own. His ingenious design has meanwhile become the hallmark of the company. Research Bertha Bermdez Pascual was Prix de Lausanne laureate in 1992. After her dance education in Pamplona she continued with professional studies at the Rudra Bjart Dance School in Lausanne and the John Cranko School in Stuttgart. Between 1993 and 1996 she was a member of the Frankfurt Ballet and then joined Compaia Nacional de Danza in Madrid. She has performed in productions by a.o. William Forsythe, Nacho Duato, Jir Kylin, Ohad Naharin and Hans van Manen. Bermdez Pascual joined Emio Greco | PC in 1998 and has performed in most of their works. In 2005 she stopped performing and started working for EG|PC transmitting their work and doing research around dance notation Dancers Andy deNys (Belgium) to be edit by EG|PC Brbara Meneses Gutirrez (Barcelona) graduated in 1999 from contemporary dance school P.A.R.T.S in Brussels (BE) and was a member of dance company Emio Greco | PC from 2000 till 2006. After two years break from the dance scene shes currently collaborating with ICKamsterdam- Emio Greco | PC company in different projects Page 56 of 75 <Appendix>
as well as being a guest teacher at the School for New Dance Development (SNDO) and Modern Theatre Dance (MTD) departments of the Amsterdam School of the Arts (AHK). Sawami Fukuoka (Japan) studied visual arts at the Art College of Kyoto. In 2001 she was selected for the European Scholarship Programme for Contemporary Dance, danceWEB, at ImpulzTanz in Vienna. Sawami joined Emio Greco | PC in 2002. Vincent Colomes (France) graduated from the Conservatoire National Suprieur de Musique et de Danse de Paris in 1995, with a specialisation in classical ballet. He danced with Ballet Victor Ullate, Ballet National de Marseille Roland Petit, Introdans, Ballets Gulbenkian and Compagnie Metros. Vincent Colomes joined Emio Greco | PC in 2006. Victor Callens (France) graduated from the Conservatoire National Suprieur de Musique et de Danse de Paris in 2006 and with his graduation-performance obtained the first prize in the category contemporary dance. Victor Callens joined Emio Greco | PC in 2007.
Appendix C: Play List

Date 30-3-1999 31-3 1-4 8-4 14-4 15-4 1-5 2-5 6-5 7-5 8-5 11-5 12-5 6-6 13-8 15-8 19-8 16th Dance Week festival ImPulzTanz ImPulzTanz Tanz im August Theater am Hallische Ufer Springdance Springdance Bellevue Bellevue Lantaren/Venster Lantaren/Venster Lantaren/Venster De Brandweerkazerne De Brandweerkazerne Presenter Theater Kaaitheater Kaaitheater Kaaitheater De Vooruit Plaats Brussels Brussels Brussels Gent Utrecht Utrecht Amsterdam Amsterdam Rotterdam Rotterdam Rotterdam Leuven Leuven Zagreb Vienna Vienna Berlin Land Be Be Be Be Nl Nl Nl Nl Nl Nl Nl Be Be Croatia Austria Austria De Dancers Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco
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<Appendix>
20-8 21-8 12-9 16-9 23-9 24-9 18-10 29-10 11-11 12-11 15-12 19-8 20-8 21-8 6-1-2000 13-1 17-1 18-1 19-1
Tanz im August Tanz im August Batie Festival
Theater am Hallische Ufer Theater am Hallische Ufer
Berlin Berlin Geneve
De De CH NL NL NL Russia NL BE BE BE DE DE DE BE BE FR Greece FR
Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco
Keuze van de schouwburg Korzo Korzo First Europ. Fest. Of Cont. Dance Moving Mime festival Monty Monty Sadsschouwburg Brugge Internationales Tanzfest Berlin Internationales Tanzfest Berlin Internationales Tanzfest Berlin Theater am Halleschen Ufer Theater am Halleschen Ufer Theater am Halleschen Ufer Cultureel Centrum Cultureel Centrum Theatre de la Bastille Theatre de la Bastille Theatre de la Bastille
Rotterdam Den Haag Den Haag Moscow Tilburg Antwerpen Antwerpen Brugge Berlin Berlin Berlin Beveren Maasmechelen Paris Paris Paris
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<Appendix>
21-1 22-1 23-1 28-1 1-2 2-2 4-2 5-2 8-2 9-2 3-3 4-3 25-5 27-5 3-6 7-7 8-7 25-8 15-3-2001 Madrid en Danza Internationale Tanzwochen Mnster Internationale Tanzwochen Mnster Edinburgh International Festival Dans in Kortrijk
Theatre de la Bastille Theatre de la Bastille Theatre de la Bastille Cultureel Centrum Theatre National Theatre National Theatre National Theatre National La Garonne La Garonne Teatro Central Teatro Central
Paris Paris Paris Lommel Rennes Rennes Rennes Rennes Toulouse Toulouse Sevilla Sevilla Kortrijk
FR FR France Belgium France France France France France France Spain Spain Belgium France Spain DE DE GB NL
Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Andy deNys, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco
L Opra Leonardo de Vinci
Rouen Madrid Munster Munster Edinburgh
Universiteitstheater
Amsterdam
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<Appendix>
23-3 24-3 29-3 30-3 31-3 1-4 5-4 6-4 7-4 20-7 25-9 26-9 27-9 25-11-03 26-11 29-11 2-12 4-12 7-12 Festival dAutunno ImPulzTanz Festival Internacional de Buenos Aires Festival Internacional de Buenos Aires Festival Internacional de Buenos Aires
MCA MCA Wexner Center Wexner Center Wexner Center Wexner Center Southern Theater Southern Theater Southern Theater Akademietheater
Chicago Chicago Columbus Columbus Columbus Columbus Minneapolis Minneapolis Minneapolis Vienna Buenos Aires Buenos Aires Buenos Aires
USA USA USA USA USA USA USA USA USA Austria AG AG AG IT IT IT IT IT IT
Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco
Teatro Comunale Teatro Comunale Teatro Ariosto Teatro Novelli Teatro Comunale Teatro Comunale
Ferrara Ferrara Reggio Emilia Rimini Modena Casalmaggiore
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<Appendix>
04-10-04 5-10 2-11 3-11 26-11 27-11 28-11 04-02-06 7-2 8-2 9-2 10-2 14-2 15-2 17-2 18-2 21-2 22-2 25-2 CC de Spil De Veste Schouwburg de Meerse Schouwburg Theater a/h Vrijthof Stadsschouwburg Stadsschouwburg De Vest Tanzhaus NRW Sradssschouwburg De Harmoniie Schouwburg Kunstmin Romaeuropa Festival Romaeuropa Festival
Brakke Grond Brakke Grond Teatro Valle Teatro Valle Trafo House of Con. Art Trafo House of Con. Art Trafo House of Con. Art CC De Spil De Veste Schouwburg de Meerse Schouwburg Tilburg Theater a/h Vrijthof Stadsschouwburg Amsterdam Stadsschouwburg Amsterdam De Vest Tanzhaus NRW Stadsschouwburg Groningen De Harmonie Schouwburg Kunstmin
Amsterdam Amsterdam Rome Rome Budapest Budapest Budapest Roeselaere Delft Hoofddorp Tilburg Maastricht Amsterdam Amsterdam Alkmaar Dsseldorf Groningen Leeuwarden Dordrecht
NE NE IT IT HU HU HU BE NL NL NL NL NL NL NL DE NL NL NL
Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Barbara Meneses, Emio Greco Sawami Fukuoka, Emio Greco, Nicola Monaco Sawami Fukuoka, Emio Greco, Nicola Monaco Sawami Fukuoka, Emio Greco, Nicola Monaco Sawami Fukuoka, Emio Greco, Nicola Monaco Sawami Fukuoka, Emio Greco, Nicola Monaco Sawami Fukuoka, Emio Greco, Nicola Monaco Sawami Fukuoka, Emio Greco, Nicola Monaco Sawami Fukuoka, Emio Greco, Nicola Monaco Sawami Fukuoka, Emio Greco, Nicola Monaco Sawami Fukuoka, Emio Greco, Nicola Monaco Sawami Fukuoka, Emio Greco, Nicola Monaco Sawami Fukuoka, Emio Greco, Nicola Monaco
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<Appendix>
02-08-07 4-8 8-8 21-9 25-9 17-04-08 18-4 22-01-09 23-1 24-1 29-5 20-11 21-11 24-11 25-11 3-12 4-12 18-10-10 20-10-10
ImPulsTanz ImPulsTanz Opera Estate festival
Volkstheater Volkstheater Teatro Astra Kaaitheater Maison de la Culture
Vienna Vienna Bassano Brussels Amiens Utrecht Utrecht Amsterdam Amsterdam Amsterdam Prato Zwolle Den Haag Deventer Enschede Turin Turin Poznan Warsaw
AU AU IT BE FR NL NL NL NL NL IT NL NL NL NL IT IT P P
Vincent Colomes, Emio Greco, Nicola Monaco, Vincent Colomes, Emio Greco, Nicola Monaco, Vincent Colomes, Emio Greco, Nicola Monaco, Vincent Colomes, Emio Greco, Nicola Monaco, Vincent Colomes, Emio Greco, Nicola Monaco, Ty Boomershine, Victor Callens Ty Boomershine, Victor Callens Victor Callens, Vincent Colomes Victor Callens, Vincent Colomes Victor Callens, Vincent Colomes Victor Callens, Vincent Colomes Victor Callens, Vincent Colomes Victor Callens, Vincent Colomes Victor Callens, Vincent Colomes Victor Callens, Vincent Colomes Victor Callens, Vincent Colomes Victor Callens, Vincent Colomes Victor Callens, Vincent Colomes Victor Callens, Vincent Colomes
Springdance Springdance Theater Frascati Theater Frascati Theater Frascati Contemporanea Colline festival
Huis a/d Werf Huis a/d Werf Frascati 1 Frascati 2 Frascati 3 Teatro Metastasio Odeon de Spiegel Korzo5hoog Deventer Schouwburg Podium Twente
Torino Danza Torino Danza
Teatro Astra Teatro Astra Art Station Foundation Teatr Studio
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<Appendix>
Appendix D: Technical Rider

page 1/2 page 2/2
Technical Rider
Extra Dry ICKamsterdam / Emio Greco | PC
120410
Sound We ask: - PA system suitable for theatre venue. 2x full range speaker (L + R, flown), (e.g. d&b Q7) 2x full range speaker (Centre cluster), (e.g. d&b Q7) 2x 2 subs, (Sub), (e.g. d&b Qsub) Separate lines for L,R,Cluster,Sub an monitor L and R - Monitor 4x full range monitor on floor (DSL, USL, DSR, USR) in two groups (left and right)
This technical rider forms an integral part of the contract you have concluded with ICKamsterdam / EG|PC / Stichting Zwaanproducties. Lighting and sound are a vital part of the performance. If you cannot comply with this rider, please contact us as soon as possible. We can make an adapted plan for your venue.
Technical coordinator: Paul Beumer E-mail: technical@egpc.nl Mob.tel.: +31(0)6 143 430 70 Office: Witte de Withstraat 117-3; 1057 XR Amsterdam; +31 (0)20 616 72 40 General We ask: - Complete house-crew (min. 2 light, 2 stage, 1 sound) - a stage of 12 meters wide, 10 meter deep, light at 7 meters - F.O.H. position inside auditorium 3m by 1,5m (not under balcony) - three pairs of legs, 6 borders - 3 pieces of triangular truss (e.g. Prolyte X30d) 11 meters each - a completely dark stage, without spill from exit lights, etc. - a clean stage (sprung floor) - dressing rooms with water, fruit, showers and towels for 2 dancers - ironing board and iron in a dressing room (we dont need wardrobe) - the houselights will be used at the lowest possible level - there are no fly cues during the performance Light We ask: lx-bars:
61 circuits
Proposed time schedule day one: 9:00 arrival technical crew/unloading/building light 12:30 lunch 13:30 finish light/building set 15:00 focus light/building sound 18:00 dinner 20:00 dancers on stage 21:00 run-through w light and sound 23:00 end day two: 10:00 corrections 12:30 lunch 16:00 dress rehearsal 17:30 dinner 19:00 clean stage 20:00 performance (75 min.) 21:15 end performance strip-out 1,5 hrs
-Mic/Players/Console 1x CD players with auto-pauze
We will bring:

Yamaha LS9 sounddesk 2 x CD player Laptop (on 1/4 inch jack)
Shipping We will bring:

2 flight cases with dance floor, fireproofed curtain, accessories 1 toolbox 1 flightcase with sound equipment 1 flightcase with Lighting desk 1 VGA 17 LCD Monitor for our lighting console
86 x 1kW Par64, 240V, CP 61, NSP 3 x 1kW Par 64, 240V, CP 60, VNSP 9 x 2 kW PC with barndoors 2 x 2 kW profiles with shutters 8 x 1 kW floods/Cyclights
approx. 700 kg, 6 pieces
10 circuits
1st lx and 6 x 1 kW PC with barndoors F.O.H. bridge: 7 x 2 kW profile with shutters
total: 71 x 2 kW circuits plus houselights We will bring:

Lighting desk Strand Light Pallette with monitor We have a wireless network for remote.
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<Appendix>
Appendix E: Cue List

Number 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 Name Walk in Start performance (fade-out) Cd 1-1 1.27 allow 6 seconds Vincent bends backwards (head to audience) Follow Vincent Vincent turns, face to audience Port-de-bras 2nd time arms up (grasp light) End of trumpet CD -1:52 On arms down | \/ After spagata they swing heads backwards (coming DS) | | | \/ till cue 47 # Fixtures 16 16 5 5 4 3 4 6 6 8 8 16 24 32 32 24 16 16 24 32 32 24 16 16 24 32 32 24 16 16 24 32 32 24 16 16 24 32 32 24 16 16 24 32 40 32 16 42 42 40 41 49 49 6 10 6 4 51 51 51 Fixtures Cue Wait 70>74+80>90 70>74+80>90 41>42+44>46 41>42+44>46 41>42+44>45 41>42+44 41>43+45 3>6+43+45 2>7 1>8 1>8 1>16 1>24 1>32 9>40 17>40 25>40 25>40 17>40 9>40 1>32 1>24 1>16 1>16 1>24 1>32 9>40 17>40 25>40 25>40 17>40 9>40 1>32 1>24 1>16 1>16 1>24 1>32 9>40 17>40 25>40 25>40 17>40 9>40 1>40 1>24+33>40 1>8+33>40 1>42 1>42 1>40 1>40+55 1>40+47>55 1>40+47>55 52>55+58>59 52>55+58>63 58>63 60>63 1>40+47>57 1>40+47>57 1>40+47>57 Cue Fade 3 12 0 50 50 40 90 20 3 3 3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 4.3 0 0 15 0.2 120 20 4 6 5 8 4 4 4 Down Wait Down Fade
10 3
90 20 9-10-11 volgen elkaar automisch op. Het zijn in tijd geprogammeerde follow cue's
rolling light
| | | |
| \/ 1st row stays
\/ = After swoosh | CD 1-7 2:08 When their shoulders hit the floor When they reach upstage left corner Nico looks at audience LEFT Walk US, foot to SR | | \/ 8 sec. after 2nd balance Applause 6 sec. -> GM!!!!!
0.2 1
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<Appendix>
Appendix F. Light Plan

EmioGreco|PC Extradry Lightingdesign:HenkDanner Technicalcoordinator:PaulBeumer Mob.tel:+31(0)614343070 Email:technical@egpc.nl
Symbol Name USITTPar64NSP USITTPar64VNSP Cantata26/44 Iris ADBEuropeC203plan ADBEuropeC103plan Wattage 1000 1000 2000 1000 2000 1000 Count 86 3 9 8 9 6
Appendix G. Soft Materials (Doeken)
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<Appendix>
Appendix H: Structure Extra Dry The geographic center of the performance is the section from Synergy called Vivaldi serving as turning point from Part 1 into Part 2. On the following table more detailed information on the structure of the performance is given:
Part
Section
Scene
Time-code of video
Title
Directions
Position on stage
Movement phrase/qualities
0.0
0:00:00
Introduction
conceptual / physical introduction on the performance sharing the theme of synchronicity
0.1
0:00:00
one/dual body
presenting the body, real-fiction
middle backstage standing behind each other
0.2
0:01:30
solo (two bodies)
curiosity, discovery
facing each other from edges of stage
1.0
0:11:20
Synchronicity / Unisono
Coincidation in time of two more or less causal connected actions with similar meaning
1.1
0:11:34
port des bras
one body with four arms, pure ballet arms
mid stage center standing behind each other
1.2
0:15:25
Bells
insisting and mechanic movements or legs mapping bell sound
traveling from left to right back corner
2.0
0:17:10
Syncope / Two trains passing each other
(the accent changes) the accents moves by connecting to the next heavy to the
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<Appendix>
0:18:00
Syncope
opening the space, travelling together, no accents, endless
horizontal travelling at back stage
passing through shoulder, needles, stick, helicopter, fly sitting, cutting, aureol
3.0
0:22:52
Synergie / Corps de ballet
Increased functioning by a combination of different means
3.1
0:22:52
synergy
relation with light, opening space front
diagonal right front stage,
5th element
3.2
0:24:14
Flamingo (sitting on one leg)
let the light work by itself
left back stage corner
flamingo, scup
4.0
0:25:14
Syncretisme / Rum Cola
Phenomena in mixing religious (re)presentations and rites from different origin into a new religious form
4.1
0:25:28
changing perspective
constant positioning of the body , no stop, never settled
middle stage travelling back facing backwards
changing perspective, locking
4.2
0:25:54
diagonal flat
constructions in rhythm
travelling from left front diagonal to back right diagonal
chaine action, egypt, first scape
4.3
0:27:04
aureol back
sensing spaces around body
in diagonal/ front stage center
aureol
5.0
0:27:57
Synergy / Prime minister of Italy versus the pope
cooperation between church and state / between faith and ration flying sitting, 2nd echapes, kiss, hand scape, walking, shoulder split, locking arms
5.1
0:27:57
vivaldi
dance, speed, joy, exhaustion
start bumping on the back wall, change of light and sound
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<Appendix>
6.0
0:30:30
Synchronisation / similarity
Coincidation in time, simultaneous passing by, total agreement between friction, phase and frequency.
6.1
0:30:40
sensing each other identities
right front stage
6.2
0:33:20
fire works
/solo, hitting the body making sounds as fire works
left front stage/ 1 body inside light 1 body outside
fire works quality
6.3
0:38:04
william burrows,
listening to each other , being synchrone in the distance
image of one body with distance in between, 1 back stage, 1 front
6.4
0:42:27
bells *
movement relates to sound quality, coming together again
each in a corner of back stage
bells quality
6.5
0:44:57
multiples*
different body parts are active at the same time, multiple awareness, also to each other quality of scaping, direct movement on space, guided by the energy of the movements, long towards outside the body
left front stage corner
multiplies quality
6.6
0:47:41
echapes *
open to all space
echapes quality
6.7
0:48:49
zig zag
passing each other the multiple quality moving in zig zag diagonal upwards stage
travelling up/down through stage diagonals
different material and daily actions
6.8
0:49:50
knee walk
mapping with the action the sound of the music
travelling back left stage
knee walk
7.0
0:52:18
Synthese / The best of
Connection of separated elements into a new whole
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<Appendix>
7.1
0:52:18
looking out,*
no engagement / bianco feeling, light change cue to go neutral back on stage / action searching, body isolations, reaching the end of stage, balance and lift the body endlessly
step front / almost outside stage looking at audience
7.2
0:53:32
curieux*
moving towards back stage to
curieux
7.3
0:58:40
end
black out
standing side by side right back corner
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<Appendix>
Appendix I: References
Interviews Interview with EG and PC by: Gaby Wijers, Annet Dekker, Vivian van Saaze, Scott deLahunta, 16.04.2009, Amsterdam (audio recording & transcript) Interview with EG and PC by: Gaby Wijers, Annet Dekker, Vivian van Saaze, 18.11.2009, Amsterdam (audio and video recording & transcript) Interview with EG and PC by: Gaby Wijers and Annet Dekker, 08.10.2010, Amsterdam (audio recording & transcript). Interview with Paul Beumer by Annet Dekker, 22.03.2010, Amsterdam (audio and transcript). Discussion on notation Extra Dry during diverse sessions Gaby Wijers, Bertha Bermudez, Barbara Meneses 2009/2010 Interview with Barbara Meneses and Bertha Bermudez by: Gaby Wijers, Annet Dekker, Vivian van Saaze, 28.10.2009 Interview with Barbara Meneses by: Gaby Wijers, Annet Dekker, Vivian van Saaze, 15.04.2009 Reviews Newspaper clippings and reviews of Extra Dry
Folders programmas 9900, 0102, 0409 Folders press 9902 31/10/09 Folders diverse publications Literature Bermudez, B. and Emio Greco/PC (eds.) (2007). Capturing Intention: An interdisciplinary research project around dance notation, documentation and re-creation. Amsterdam, Amsterdamse Hogeschool voor de Kunsten and Emio Greco / PC. Braembussche, A. van den (2001) Its life Jim but not as we know it. A philosophical approach on Emio Greco / PCs trilogy. Amsterdam: Stichting Zwaanproducties Broek, C. van den Als twee lepeltjes In: De Morgen 8-9-99 Fabius, J. and I. van Schijndel (eds.) (2007). Company in the School. Between experiment and heritage. Amsterdam, Amsterdamse Hogeschool voor de Kunsten and Emio Greco / PC. Guatterini, M. Teatro Comunale di Moderna Programma 04-12-2003, vertaling Mies Panneman Morris, D. Greco: nothing to hide, In The Scotsman 25.08.2000 IMK Documentation Model
Orfano, R. De triomf van het lichaam, Programma van het Holland Festival, 12-12 juni 2002 interview Lonneke Kok. Peeters, J. Stirred, not shaken, In: Veto nr. 30, 10 mei 1999 Putt, F. van der, Purgatorio Popopera, epiloog Mestreech, oktober 2008 Schlagenwerth, M. (1999). The Echo of Body. In Ballet Tanz. Yearbook 99. Manically Charged Presence. A. Lepecki (ed.): 118123. Smeets, G. The wake-up calls of Emio Greco and Pieter C. Scholten, Amsterdam Augustus 2004 Start, I. Emio Greco (1965) In Dans (2004) Veld, W. in t, Emio Greco kiest voor goud In: Veluws Dagblad, 7-4-1999 Emio Greco / Pieter C Scholten duits/ engelse tekst met de 7 necessities lit opg nakijken Hedy Weiss in the Chicago Sun (3)
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<Appendix>
Other Materials provided by Bertha & Barbara: Part of former glossary, Notation of Hell (Bertha), Terms used by Laban and dance analysis (Bertha). Videoregistration Extra Dry: Extra Dry 1999, 1st cast compilation 19 min on DVD Extra Dry 2004, 2nd cast, full version on DVD Extra Dry Brakke Gond 4-10-04, dv Extra Dry Dordrecht 25-2-2006 Copies of sketches, images and texts from Pieter Scholtens dossier Dance and Media, A Research Project on New Ways of Dance Notation and Documentation: Reader, EG|PC Bertha Bermudez Pascual Materials provided by the office: Theatre plan, Play list, Technical reader Reader Emio Greco | PC: Reconstruction Repertory, Style definitions & Innovation. Notation Sytems & Reflection www.ick.nl DVDs of registrations of Extra Dry
Background literature Adshead, J., (ed.) (1988). Dance Analysis. Theory and Practice. London, Dance Books Ltd. (theory) Broek, Moos van den (2010). Dansen zoals het geschreven staat TM maart 2010. Delahunta, Scott and Norah Zuniga Shaw. Constructing Memories: Crestion of the choreographic resource. In: Performance Research 11 (4) pp. 5362 Delahunta, Scott and Norah Zuniga Shaw. Constructing Resources Agents, Archives, Scores and Installation. In: Performance Research 13 (1) pp.131133 Eggers, Jessie (2009). Dance Knowledge What Bertha Knows, Writing Dancing II. Hay, D. (1994). Lamb at the Altar. The Story of Dance, Duke University Press. Hermes-Sunke, K. (1999). Reconstruction / Recreation: Reflections Practice adn Esteem of Repertoire. Experts of ICKL Proceedings 1999. Hutchinson Guest, Ann (1984). Dance Notation. The Process of recording Movement on Paper. London: Dance Books.
Koteen, David, Nancy Stark Smith (eds) (2008). Cought Falling. The confluence of contact improvisation, Nacy Stark Smith, and other moving ideas. Northhampton, Contact Editions. (particular notation system) Kurihara, N. (2000). Hijikata Tatsumi: The Words of Butoh. TDR: The Drama Review 44(1): 1028. Lammert, A. (2008). Von der Bildlichkeit der Notation Lehman, Th., (ed) (2002) Schreibstueck. Lepecki, A. (1996). How Modern is Modernism? The Relevance of Reconstruction. An Essay by Andre Lepecki about the Martha Graham Retrospective. Ballet-Tanz. Leigh Foster, S. (1992). Dancing Bodies. Incorporation Zone 6. In: J. Crary (et. al) Bradburry, Tamblyn & Boorne Ltd.: 480495. MacDonald, C. (2009). Scoring the Work: Documenting Practice and Performance in Variable Media Art. LEONARDO, Vol. 42, no. 1, pp. 5963 Nachbar, M. (2009). Training Remembering. (on reconstruction)
Nachbar, M. (2002). Reconstruction revisited. Rey, Geraldine and Marion Bastien. Interactive Design Project: Labanotation. (on notation and reconstruction) Santone, J. (2008). Marina Abramovis Seven Easy Pieces: Critical Documentation Strategies for Preserving Arts History. LEONARDO, Vol 41, no.2, pp. 147152 Stewart, N. Re-languaging the Body: phenomenological description and the dance image. Performance Research 3(3): 4253. Thomas, H. (2004). Reconstruction and Dance as embodied textual Practice. Rethinking Dance History: A Reader. A. The geographic center of the performance is the section from Synergy called Vivaldi serving as turning point from Part 1 into Part 2 On the following table more detailed information on the structure of the performance is given:
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<Appendix>
Appendix I: References > Other Copies of sketches, images and texts from Pieter Scholtens dossier
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<Appendix>
Appendix I: References > Other Copies of sketches, images and texts from Pieter Scholtens dossier
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<Appendix>
Colophon
Concept / Editors Annet Dekker, Vivian van Saaze, and Gaby Wijers 2010 ARTI, Artistic Research, Theory and Innovation and ICKamsterdam Emio Greco | PC. www.insidemovementknowledge.net
Editorial Advice Bertha Bermudez, Marijke Hoogenboom and Scott deLahunta
Thanks To Amsterdam School of the Arts Dance Department Amsterdam School of the Arts Research Group Art Practice and Development ICKamsterdam Emio Greco | PC Netherlands Media Art Institute (NIMk) University of Utrecht Theater Studies Graphic Design Stephen Serrato Production Bertha Bermudez Publisher ARTI, Artistic Research, Theory and Innovation P.O. Box 15079, 1001 MB Amsterdam www.lectoraten.ahk.nl Page 74 of 75 IMK Documentation Model
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