[k]NO(w)B O D Y
Workshop on Real Time Composition: Creativity, decision-making and self-organization
ISCTE - Lisbon University Institute
September 11 from 14h00 to 19h00 (room C402, Building 2)
September 12, from 13h00 to 17h30 (room C104, Building 2)
(attention: time schedule and rooms have been updated)
João Fiadeiro invites all the ECCS'10 attainers for an intensive workshop, during the two days just before the conference.
The operative system at the basis of this method is extremely simple: we divide the space into two with a scotch paper tape. We set the convention that one of the sides is “the outside” and the other one “the inside”. The participants all start on the “outside” side, looking at the “inside” one. “The inside” space works as a potential space that will, as time goes by, absorb the “outside” space, ultimately abolishing any distinction between the two. When that happens – when the ones that are outside “feel” inside, and the ones that are inside “feel” outside – it means that the practice of the method is at its “optimal” state.
“In Real Time Composition there are two things going on: in one hand there is the technique, which is rooted in the idea of “unpacking decisions” and on the other hand there is what is guiding our decisions. And for that you have different norms to be follow: the norm of “leaving things open for the next person”; the norm of “not getting obsess and drag things into loops”; the norm of “being part of the community”; the norm of “leaving as much ego behind as possible”; the norm of “not getting attached to any particular narrative, past history”; etc. By engaging in an exploration of decision and moral judgment, trough the work of Real Time Composition, you are trying to be fully human.”
John Symons (in a conversation with João Fiadeiro)
"João Fiadeiro works exactly with the matter of the ‘in-between’ and his method is based upon the challenge to produce, by cultivating molecular clarity, a re-assessment of what freedom in improvisation might be, as well as of what the creativity of the artist might be. João has, so to say, woven a whole philosophy of the event applied to dance. His method, encompassed by the dense-light delicacy of simple things, does not deal with anything other than life; it is just a clarification of vital functioning, of the operative dynamics of human relations, of cohabitation. Clarification is by the way a key word to understand his proposal, which consists in the shared making of an event/action/scene, starting with the inhibition of the I-artist’s impulse to act for a ‘certain time’, enough for the possibilities that the I matches with the action to emerge, and for the very event to ask for the participation of that very I – whose creativity then stops to be associated to the romantic splendour of the outburst-artist, who adds elements to the real or that shapes it according with her own point of view and subjective interpretation, to appear instead as the art of putting oneself at the service of the event, and of choosing with clarity, working on the elasticity of the observable in the name of the weaving of a common experience. The protagonist-artist is no longer to be seen; the only protagonist is the event itself."
More on Real Time Composition.
João Fiadeiro (1965) belongs to the generation of choreographers that emerged towards the end of the 1980s and who gave rise, in the sequence of the American post-modern movement as well as the movements of the French and Belgian Nouvelle Danse, to the Nova Dança Portuguesa [New Portuguese Dance]. A large part of his formation was carried out between Lisbon, New York and Berlin, after which he joined the Dance Company of Lisbon (86-88) and the Gulbenkian Ballet (89-90). In 1990 he founded RE.AL, a centre for research and artistic residencies, which not only constitutes the basis for the creation and diffusion of his work but also hosts transdisciplinary events and supports emergent artists by organizing laboratories and artistic residencies. He regularly teaches and present is works across Europe, the USA, Canada, Australia and South America. In his research he argues for a practice of awareness in an extremely reflexive manner, focusing on decision making in performance. He is also interested to contaminate other areas of research with his thoughts and know-how in order to contribute to a broaden discussion between art, science and society.
Registration by e-mail to firstname.lastname@example.org, indicating your name, institution, and scientific domain. Free for ECCS'10 registered attainers.
The workshop will be video recorded and the results will be discussed during the ECCS'10 Satellite Meeting
[ENTRE]* Artistic and Scientific Research: meeting points and bridging lines
, that will take place on September 16.