How does it feel to incorporate more pauses than movement when dancing? How does one play the violin without the bow? Check out the video and read our reflections below!
Viktoria Grynenko (violinist) & Janita Frantsi (dancer)
During our research and exploration of the interplay between a dancer and a violin, we tried different improvisation techniques, one of which we called ‘creative limitations.’ These exercises included tasks, such as pauses in movement or hands leading and shorter notes or no bow for the violin, and were designed to find new perspectives on our own practices to help explore our mediums outside of our usual styles and patterns.
Viktoria:
During this practice, I was able to find many new tools for my own playing. For example, being limited to just one note but played in an endless variety of ways, let me remember and discover creative and extended bow techniques. Another limitation was not to play with the bow, so I got to do all sorts of scratches, sliding, tapping, and of course pizzicato. Observing Janita being creative in her limitations gave me ideas on how to find new ways to play with my own limitations. I think this exercise helped our piece during the live improvisations as it triggered a very creative process, allowing us to find solutions even with harsh limitations.
Janita:
With improvisation and spontaneous movement generation, it is sometimes easy to fall into familiar patterns. These creative limitations were a fun way to explore the connection between music and dance while giving us some parameters within which to work. I noticed that especially in the moments when I felt like I was doing the same thing over and over again, it felt nice to slow down and follow the music. Other times, it was fun to have the opportunity to disrupt the rhythm and do something different to see how Viktoria responded. Therefore, these exercises also allowed us to build on our first ‘Follow the Leader’ explorations and play with switching between the roles in the moment.
A particularly interesting creative limitation was when both Viktoria and I were facing away from each other, just listening to and imagining each other. Viktoria attempted to accompany my movements by just hearing them, and I drew inspiration from the movements of the violin without seeing them. This reminded me that there is still sound in silence and movement in stillness - we just have to be willing to listen and sense it differently.
Follow us along as we share our collaboration process!
Find us on social media:
Viktoria Grynenko (violinist), www.instagram....
Janita Frantsi (dancer), www.instagram....
This project is supported by the Edmonton Arts Council and the City of Edmonton.
Негізгі бет An Interplay Between a Dancer and a Violin: Creative Limitations (pt. 2)
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