Tekst over fases maakproces en dansdramaturgie

Op het VDO Symposium kwam het verzoek uit het publiek om de fases in het maakproces van choreograaf Mor Shani en dramaturg Anne-Marije van den Bersselaar te verzamelen in een samenvatting of essay. Vanwege dit verzoek zal er op korte termijn een tekst over dit onderwerp op deze website te zien zijn, zodat er gelegenheid is om de volledige lijst te bestuderen die ze wilden uiteenzetten tijdens hun gesprek op het Symposium.

Text about phases of makingprocess and dance dramaturgy

On the VDO Symposium there was a request out of the audience to collect the phases in the working proces of choreographer Mor Shani and dramaturg Anne-Marije van den Bersselaar in a summary or essay. Because of this request there will be a text about this topic on the website soon, so you will be able to study the complete list in the conversation during the Symposium .

We gave an introduction of BIT at the VDO symposium on dance dramaturgy:

Maybe you were already thinking about our name for a while, what does it mean, BIT, what does it stand for? We chose for the name BIT because this word has various connotations with what we think is related to dance dramaturgy and its different meanings reflect the diversity of perspectives in our group.

Bit can mean ‘bit by bit’; a little at a time. We are learning things about the process of making dance bit by bit, but we are also learning things about practicing dance dramaturgy bit by bit.
Bit could also have the meaning of having a role, ‘having a bit part’ or ‘being a bit player’. As a dramaturge, you have a certain rol in the process of making dance. We are examining what this role could be exactly, what it’s not, and if it is possible or convenient to broaden the borders of this role.
Another meaning of the word ‘bit’ is as in the common name of a binary digit, the smallest unit of information systems, which can take on only the number 0 or 1. This connotation refers to the analysis of the smallest unit of information of a dancepiece, where the dramaturge can give a helping hand. It could refer to the binary aspect of dramaturgy as well; like in-out (of the process), present-absent, involvement-keeping distance…
Or, as in the verb ‘bite’; as we start working with a choreographer we would be biting into the material to hold on to all the details, to grasp and to experience the process fully to be able to contribute as much as we can to this very process.
The last idea that comes into mind is that in Dutch the word ‘bit’ is the iron mouthpiece of a horse, where the reins are attached to. The reins are the lines, the directions, where the dance material can go. When regarding this image as the process of making dance, the ‘bit’ is the place where everybody involved in this process meets and shares knowledge. This way, all threads of the development of the process can be attuned.

Continue reading Introduction BIT

(voor Nederlands: zie beneden)

INVITATION VDO symposium Tuesday January 19 2010

Dance Dramaturgy
This symposium is the sequel to Forum on Dance Dramaturgy at Dans Werkplaats Amsterdam, December 4 2009. The Dutch Society for Dance Research has invited BIT to present itself and to react to the content of the Forum that was organized by DWA. Guest choreographers will be Jack Gallagher and Mor Shani. The discussion will be moderated by Bart van Rosmalen (managing director of Walter Maas Huis). It will be a dynamic afternoon dedicated to the diversity in dance dramaturgy.

The Utrecht initiative of young dance dramaturges, BIT, studies, discusses and questions aspects in dance to deepen the practice of dance and dramaturgy. The uniqueness of BIT is that dance dramaturges come together, where normally they work individually.

BIT: iron mouth-piece for a horse, to which the bridles are attached; smallest piece of information in information technology; bite; piece; period; a little at a time; supporting actor or actress; burst with energy.

Come and meet the new generation:

Anne-Marije van den Bersselaar: Dance dramaturgy is about asking questions and the way answers are found. It is about collaborating with a goal, in which the dramaturge all the time will keep a watching eye over the process.

Diane Elshout: The dance dramaturge is an active and reflective voice in the making process who is co-(re)searching a not yet existing and possible form. Dance dramaturgy is process oriented and considers the ways in which something can be enriched, grow and deepened; practical, theoretical and artistically. The dance dramaturge can be seen as the memory of the production.

Jochem Naafs: Dance dramaturgy is not only giving feedback to the material, but also to how this material is realised. Dance is an always changing process and dance dramaturgy is processing this process. It is not only about that one performance, but about what happened before it as well.

Lisette van Rossum: The bearers of the dance dramaturgical process are human contact and mutual reflection. In order to close the experienced gap between choreographer and dance dramaturge the dance dramaturge first of all needs to acknowledge that people are different in the way they are and (are allowed to) think.

Ghislaine Schijndel: Dance dramaturgy is to analyze and inspire. Researching connections to broaden and deepen the performance. The approach of a dance dramaturge is creative as well as scientific.

Lotte Wijers: Dance dramaturgy is to be open to the flow of the process of making a dance production. To see clear and to be in touch with your senses. And to communicate this experience with the choreographer.

Location: U-Theater Studio T, Kromme Nieuwegracht 20, 3512 HH Utrecht
Date: Tuesday January 19 2010 Time: 16.00-18.00 h
Costs: 5 euro (free of charge for members of VDO)
Subscribing is necessary, because there’s limited seating, mail to: Liesbeth Wildschut: E.M.M.Wildschut [at] uu.nl

www.verenigingdansonderzoek.nl

Continue reading INVITATION VDO symposium Tuesday January 19 2010