Thursday, May 24, 2007

Creative Process, MOVIMENTO III

There are a lot of intelligent and talented people, but, as far as we are concerned about creativity, this have a relative value. Very few individuals have perceived something; the existence of a perception is the beginning. A perception creates the possibility to communicate

Once this condition appears, every gesture is either creative (maintains the flow), either destructive (brakes the flow)

A good start : set yourself free from polemic = do not answer immediately and automatically
Remain silent, allow yourself to be confused (do not re-act suddenly)

Using the creative process as a vehicle means to try and change level; establishing a higher connection to achieve a conscience not bound to language but to “presence” .

Bringing the heavy and primitive organic energies to the thinner level, then the thinner level into a more ordinary reality, related to the density of the body.
It is a vertical line , climbing ,transforming, then re-descending.

Working first on the body and its sensitivity;
First research: working on ancient ritual songs to bring back organicity to the body and make it able to articulate signs.

)find some ritual songs, one of your own cultural tradition and some belonging to other cultures.
)work on one of them at a time.
)try and catch the melody of each song in its precision
)try and find a time-rhythm with all the fluctuations inside the melody and mostly “something” which is the “right sound”, the vibratory qualities which are the inner meaning of the song.
)it’s not necessary to understand the words, it’s important to catch the vibratory qualities of the song

inner meaning of the song = body impulses sound & impulses = inner meaning

)discover the difference between the melody and the vibratory qualities

Now, the traditional song, and the impulses related to it, are a “living being”, often a person, but also an action. How to discover this ? Throughout the work

Some ancient songs are “women”, others are “men”, others are “adolescents” or “kids”, others are “old persons” ; the number of possibilities is incredibly large. An authentic traditional song is a living organism: there is the body-song (ex. Caribbean songs), the animal-song ( from animal movements or sounds) , the force-song (from an action).

The song is always associated to the impulses of life that flow through the body;
the posture of the body, and the manipulation of breathing are not in discussion anymore, it’s only about this living current that carries the song.

Impulse = In – pulse = pushing from inside.
Something that pushes inside the body and spreads out toward the external something very subtle bon inside the body, but not only belonging to the sphere of the body

Impulses proceed physical actions, always. It’s like the physical action, still invisible from outside, was already born in the body.

Impulse = morpheme of expression and of action = a tiny piece of something = elementary piece

The best way to work on physical actions, to be able to have them rooted in our nature, is to work with the impulses. Remaining at the impulse level, the action, almost born, but still retained, creates an in-tune condition for the body to react.

To the impulses is connected a “right tension” ; if we in – tend to do something, a correct tension exists inside, directed outside.

In – tension = Intention

There is no intention without a specific muscular activity.

It is not a psychological state, it is something that passes through the body at a muscular level and which is connected to an objective outside ourselves.

Organicity = the potential , in the human body, of a current almost biological of impulses that come from the internal and are directed toward the accomplishment of a precise action.

Try and seize the impulses and work on them using the traditional be continued

By Alessandro Rolandi. Beijing