VILJE - til transformasjon/Will - for transformation
«Will - for transformation», the need to be seen, accepted and included - and about the life enhancing will behind it.
This solo concert performance is a study in the concept of inclusion and transformation. What does it entail to be included, to include oneself and to include others? How can the concept of inclusion materialize in various forms considering aesthetic borders between performer and the audience?
The physical conditions are materialized with a long sound cable. This is used actively as dancing partner, to mark borders, create various "rooms" on the floor and to create distance or contact between the performer and the audience. The Will manifests itself in this cable, and through motion and interaction facilitate the opportunity for communion and inclusion or the opposite, as well as through transformation.
Humans are social beings with a existential need to be part of a community. To include or to be included are substantial ingredients in a humans life. Without this feeling of belonging, the Will weakens. My questions asked working on this performance are: How does one become included, at what point can we say that a person is included and what conditions needs to be present in order to be included? These are of course physical, psychological, material and relational conditions. I also ask to what extent the concept of transformation plays a role in the participating within a community, for growth and maturation? "Will - for transformation" is the study of the concept of inclusion with the help of body, voice, motion, emotion, cables and the audience.
Along with the performance object of study; inclusion, there are two more artistic aims concerning methodical aspects in the creation of the piece. Working interdisciplinary with dance and music the modality of choice concerns embodied sound. The aim is to create music from the interplay between body and vocal sound bound to psychological and physiological processes.
The other methodical aspect is build on the philosopher Schopenhauer and his theory on human experience and knowledge relating to what can be considered a posteriori knowledge, immediate knowledge and a priori knowledge; explore how to develop the artistic material expressed as being either a posteriori, immediate and/or a priori in the body, and how these can relate to each other in the performance. How can these three different epistemological concepts affect the working method and artistic expression?
A posteriori; experience - change; from one point to another in time and space Transformation points to the law of causality and what follows with necessity at a specific time in a specific place. The law of causality follows human experience. This concept is tied to the work "Alene" (Vilje produksjoner, 2014). During the working on Alene a collection of movements and sounds was systematically created, both from focusing on emotional aspects of lonelyhood. This systematic work resulted in a "bank" of movements and vocal sounds that could be select from for the piece. The performance was based methodically on a selection of movements and sounds, put together both structurally and as a foundation for improvisation. This material is now 'a posteriori' in the body, internalized because of the previous experience while creating it.
Immediacy - here and now With the use of Schopenhauers' concept of Will, the performance transforms along with the experience of the performer. The Will is, according to Schopenhauer, the fundamental way of conceiving our being in the world. The body is central i his theory of knowledge and he calls the body "the immediate object". As an immediate object the body has immediate ability to perception and experience of the world around it. Within the concept of "the immediate object", the world is perceived without conscious thought connected to the experience. Bridging the bodily experience with conscious thought transforms the experience and lead to transformation. The concert performance Crux (Vilje produksjoner, 2015) was about human experience when standing at a cross road in life. Movement and voice was improvised during the performance and expressed intuitively and immediate. Material for Crux was methodically developed in an opposition to how the material for Alene was created, inspired by Cages' concept of indeterminacy. Choices concerning staging and focus of attention, as well as choosing style of vocal technique and the sound on external technical devices was done in advance. The working method for Crux was hooked to Schopenhauers theory on "the immediate object" and the used as a methodical tool to explore the bodys' perception and reaction to matter outside the body.
A priori - Will moves the body Shopenhauer concider the will and the body to be unceparable. He also believed that humans are unable to know their own will in its entirety, only as it is perceived in the human body within time restricted events, actions and experiences. With this as a focus point I will seek too understand how Vilje relates to and affects Alene and Crux on stage and during the performance from start to end.
How the three different approaches as presented above can spatially relate to one another are explored in "Will - for transformation". Bridging Will, Crux and Alene through the concepts of a priori, immediate and a posteriori gives a meta perspective of the performances' multifaceted methodical aim shown in the scheme below:
Will Crux Alene
a priori the immediate bodily experience a posteriori
the motivation the action the object of study
the need to be included interplay between people human cognition
scenic transfered to physical within specific conditions reaction following the experience and material conditions after meeting the conditions
Motion and vocal sound For my work I have found, and still do, inspiration in litteratur on cognition, perception and neurological activity in the motor areas of the brain, and how the mirror neurons and audio visual mirror neurons are activated, not jus by outer stimuli, but also by mentally activated pictures referring to perceptual experience. The mental picture exists without external stimuli activating the neurons - it is enough to think, picture and observe others experience. Related to my own work, I find this interesting seeking to understand the integrated relation between motion and vocal sound. Some answers to this I find in litterature showing that the same motor areas in the brain are activated during motion and sound production, that mirror neurons and audio visual mirror neurons are activated by thought alone, sending signals to muscles moving limbs and joints, and also moving sound producing muscles. This has given me an understanding of how motion and sound are to body modes of the same origin, however different in expression, and explains to me why I experience motion and vocal sound production as symbiotic in my body. Alas, I use body motion and emotion as a tool to make music. The body is my instrument. I musicalize vocal sound and let myself be moved.