Performance Recipe Book LITTLE STORIES ABOUT SOS Akemi Takeya 1 The performance recipes in this collection were compiled by Akemi Takeya, and were created in the course of the creative workshop “We’re Gonna Go Dancing!! Second – A regional dance support program B” in Fukuoka, Japan, coproduced by the Japan Contemporary Dance Network (JCDN). The premiere of the Japanese version took place on February 26, 2011 at Izumu Hall. Further performances took place at Ai Hall in Itami on March 4 & 5, 2011. Co-produced by JCDN, Co.D.Ex. Supported by the City of Vienna, Cultural Bureau (MA7), the Austrian Federal Ministry for Education, the Arts & Culture (bmu: kk) and the Austrian Cultural Forum Tokyo, the Agency for Cultural Affairs, and the Fukuoka City Foundation for Arts & Cultural Promotion Many thanks to Norikazu Sato (JCDN), Ritsuko Mizuno(JCDN), the entire staff of the Fukuoka team and all the performers (Jp) – Masumi Goto, Genichi Takeuchi, Ryo Takenouchi, Kanako Sako 2 All rights reserved. No Part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, by photocopying or recording, without prior written permission by IMEKAproduction. © 2012 Akemi Takeya IMEKAproduction Grundsteingasse 8/48 A–1160 Vienna Austria email: contact@akemitakeya.com website: www.akemitakeya.com Edited by Armin Anders, David Ender Translated by Akemi Takeya Layout & Graphic design IMEKA Version #1 – photocopied edition 3 Index Preface XX Acknowledgement XX Part 1 Part2 Introduction 4 XX Introduction XX 00. appear Speech On Secrecy XX Intermezzo XX 01. enclose Stagnation Of Self XX scene 01. Photography XX 02. enter Show Our Sacredness XX scene 02. The index finger XX 03. invade Scan Our Shape XX scene 03. Haunting in the dark XX 04. melt Statement On Substance XX scene 04. Play-dead_shoot1 XX 05. be distorted Surprise Or Shock XX scene 05. Play-dead_shoot2 XX 06. curve Scandal On Sight XX scene 06. Play-dead_revival XX 07. be broken Spirit Of Samurai XX scene 07. Violence_intro. XX 08. vibrate Song Of Soul XX scene 08. Gang rape XX 09. move Script Of Steps XX scene 09. Rrestriction XX 10. pass Site Or Sight XX scene 10. Break out XX 11. reflect Shadow Of Smile XX scene 11. Photography XX 12. hide Sight Of Sound XX scene 12. End_Interview XX 13. overlap Strangeness Of Someone XX scene 13. End_curtain call XX 14. deviate Sensation Of Sense XX 15. wrap State Of Solitude XX Rehearsal Process XX 16. take off Stop Our Sentimentality XX Set Up XX 17. lose Scoop On Something XX 18. go out Seek Other Space XX Appendix 19. be transparent Surreal On Stage XX a) Breath Body XX 20. partition Sadness Of Separation XX b) Episode #1- 31_S.O.S XX 21. be split Shot Of Spirit XX 22. fall to pieces Structure Of Skeleton XX List of reference XX 23. burst Smash Our Sadness XX Epilogue XX 24. expand Sign Of Superiority XX 25. proliferate Symbol Of Sexuality XX 26. continue Source Of Strength XX 27. join together Statue Of Security XX 28. tie up Sympathy Of Support XX 29. become entangle Spark Of Spontaneity XX 30. become cubic Style Of Sense XX 31. imply Suggest Our Stories XX Preface These performance recipes are written for 1 female and 3 male performers to be selected by a local institution where the piece is to be produced using the recipe book. There should be at least 14 days of rehearsals and 2 performances of the piece. Little Stories about SOS is set up as a performance exhibition. In a symbolic order, the performance describes certain cases of “borderline situations” in which people are said to have different experiences from those arising from ordinary situations. “SOS” here aims to suggest the “emergency” in an ironical manner. Also, the performance attempts to adopt a journalistic point of view, and uses video and still cameras on the stage in order to document the actions with pictures. During the live performance, the materials produced are projected on a screen; that which just occurred is still present, while in the next moment it becomes documented as a past event. The 31 instructions of the performance vocabulary which is interpret by performers and displayed on a screen during the performance are based on “Creation Through Shapes and Patterns” (Aim Creative Products Co, Ltd.), a book with instructions on how to create various shapes and patterns with the help of 32 keywords, which contains lots of exercises for sparking up one’s imagination. In SOS, the chapters “disappear” and “be transparent” were united, so that now there are only 31 chapters. I bought the book “Creation Through Shapes and Patterns” in a design shop when I was employed as assistant to a graphic designer and copywriter at an advertising company in Tokyo in the 1980s. Later, I adapted this source of ideas for my own creative work, which is long-term physical action as bodywork. The key point here is to find a Breath Body (an invisible inner energy body, so to speak) – BB is the acronym used in the book, and is explained in more detail in the appendix; it has a specific correlation with the Material Body (the visible outer material) – its acronym being MB. This also functions as “Impression & Expression”. The MB’s motion is driven by impulses coming from the BB's condition, which is again determined by impulses stemming from the body. This “Give and Take” is a continuous interplay of MB and BB, and utilized as a method of articulation and interpretation. In other words, “Action and reaction”; the main artistic goal is to organise MB and BB in free and open cooperation, in spite of prearranged schemes. All the 31 verbs are transformed into artistic processes in order to (re)form and articulate the body of representation. Akemi Takeya, Feburary 2012 5 Acknowledgements: The performance piece consists of two structural parts as follows: Part 1 – 31 terms of the performance vocabulary Part 2 – Progressed short story based on Part 1 The first part is featured as a medley of the interpretations of the 31 verbs, while the second part is designed as a playful and poetic short story which integrates some of the 31 verbs of the performance vocabulary of the first part, in connection with various situational aspects of crime form the point of view of a “dry” spirit of criticism watching human existence. The source of each recipe listed is interpreted by the performers, but many of the recipes can be circulated among the performers and the instructor or teacher for some time. The performers interpret the items from 1 to 31 one after another in an illustrative navigation. They are easy to learn in a short period. One can also simply enjoy seeing patterns of physical interpretation, just like a game. Animations using patterns and shapes were created in collaboration with the visual designer Road Izumiyama (J), and were projected on a screen at the rear of the stage. *About the word SOS In the year 1908, the distress signal “CQD” (Come Quick Danger) was changed to “SOS” by international agreement. The reason for this was that it was difficult to send the 3 letters of the former signal in Morse code during an emergency situation. SOS was conceived to be the easiest way to type a distress signal for someone who needed help, because the letters S and O are simple and distinctive in Morse code, as the letter S consists of a distinctive 3 dots (…) and the letter O of 3 dashes (– – –). The combination itself actually has no meaning, but homonyms were soon found: SOS soon came to stand for “Save Our Seamen”, “Save our Ship”, “Survivors On Shore”, “Save Our Souls”, “Save Our Selves” or “Stop Other Signals”, which are just ways to guess the meaning. Therefore, I also created other combinations linked to the 31 verbs in the piece; the Solo interpretation itself also means “Survival of Solo”. 6 Performance Recipe Book LITTLE STORIES ABOUT SOS Part 1 7 00-31 Shapes & Patterns 00. 01. 02. 03. 04. 05. 06. 07. 08. 09. 10. 11. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 12. 8 Introduction Part 1 – 31 Basic Performance Terms 00. appearance / 01. enclose / 02. enter / 03. invade / 04. melt / 05. be distorted / 06. curve / 07. be broken / 08. vibrate / 09. move / 10.pass / 11. reflect / 12. hide / 13. overlap / 14. warp / 15. diviate / 16. take off / 17. lose / 18. go out / 19. be transparant / 20. partition / 21. be split / 22. fall to pieces / 23. burst / 24. expand / 25. proliferate / 26. continue / 27. join together / 28. tie up / 29. become entangled / 30. become cubic / 31. imply Some notes and viewpoints on the interpretation of Part 1 1) Try to comprehend this recipe book in oder to handle the role for the performance, to grasp the point of the basic theory of the movements which especially consists of the correlation of “action and reaction” with “Breath Body” (BB) and “Material Body” (MB), as well as “impression and expression”. 2) Try to do efficient teamwork and exchange your own opinions, views and policies, in order to accelerate the performance process until you’re able to reach the point of borderline situation in a short time. 3) Try to follow the recipes in order to deepen the relation with your own physicality; each verb suggests various ways of perception and in each exercise deals with the BB in “Points of Observation”. 4) Try to examine how the representation declares its own territory to the audience whose “third eye” has another perspective, in order to suggest a political act to them. Also, the piece does not mean merely to offer entertainment without checking the level of technique or judging which of one’s own acts are good or bad. 5) Try to be responsible of your role as a messenger who conveys and mediates the performance’s content, because it is impossible to control other's determination by others why the representation itself is always threatened by others which is kept confronting each other in a certain tense between performer and audience 6) Try to ask yourself questions of representation: Why perform as a performer? Why perform in front of an audience? Who is your audience? What is the force behind the power to perform? What is your vision of the future in 10 years? What kind of question is put to you and the audience? Classification of different types of action Change of size – expand, burst, proliferate Change of time and place – invade, enter, move, continue, pass, go out, hide Change of surface – wrap, overlap, take off Change of substance – melt, vibrate Change of shape – curve, deviate, be distorted Change of quality and form – become cubic, broken, be split, partition, lose, fall to pieces Becoming one – tie up, become entangled, join together Immaterial phenomena – imply, become transparent, reflect 9 00. Appear Speech On Secrecy Performance The act or instance of appearing, as to the eye, before the public, etc. The outward or visible aspect of a person or thing. – Basic Structure for Group Interpretation 1) Place yourself at a point for a camera angle and hold a one-minute speech in front of the camera one by one, in the order of P1–P2–P3–P4–navigator. * Do not waste time and space waiting between turns, and move quickly in order not to be late for your turn. ** Adjust the size of your close-up face in the camera, whose image is simultaneously projected on the screen. 2) After your speech, place yourself at an arbitrary “starting position” at the back of the stage. 3) Begin your warm-up (see below) as you require it – refer to 09. move! * Do not go farther than half its depth to the front stage, and try to relax naturally, e.g., dashing, jumping, stretching, etc. rather than acting. – Preparation : Making a text for a one-minute-speech 1) Objectify by gazing at yourself, and find a separate individual within a relationship of domination in which you subjectify the thing which you deny or confirm to judge. 2) Do the “exercises” below and find a motif. Exercises – Points of Observation for Yourself : Simply describe yourself a) For those who do not know whether they exist.: Breathe to pump the air into your body with the muscles, bones and organs you carry, and let it move. Then, connect to an Internet provider of your choice and communicate with people. b) For those who find that they do not exist.: Look at yourself in a mirror, regard your figure in it to reach your own invisible inner body. Then, make a sketch of it to get an outer shape while sometimes touching your skin. c) For those who find that they do exist.: Give your own invisible body a life and let it walk, let it speak words suspended in your mind … Nonsense in the flow of rambling words spoken within? Taboo in the flow of immoral words spoken within? Negativity in the flow of dirty words spoken within? Positivity in the flow of peaceful words spoken within? Memory in the flow of retrospective words spoken within? Then, send a message to yourself and all your friends. – Warm-up: Doing your speech 1) Draw yourself precisely in the mirror and describe the image you see. 2) Report something about humanity, the world, politics, nature, a crisis situation, etc. 3) Continue talking freely for at least 10 minutes, associating the words in your mind freely with any image. Solo Interpretation Beginning: The title of the piece is projected on the screen. The camera is turned on as soon as half of the audence seats are occupied. The solo interpreter sits in the first or second row that is projected on the screen. With the start of the performance, a recorded announcement of the piece is played back on the PA. 1) Place yourself at a point for a camera angle (with the number 00. appearing on the screen). 2) Show the movements from 04. melt in front of the camera. 3) Do a speech about the Breath Body as you understand it for 3 minutes 4) Return to your starting position (simultaneuosly the number 00. disappears from the screen). 10 1. Enclose Stagnation Of Self Performance Drawing around a pattern. Confining a pattern within a circle which cannot be broken into (out of). – Basic Structure for Group Interpretation 1) On the cue of “Start” by the navigator, place yourself at an arbitrary starting position. Sense your BB. 2) On the cue of “No.1” by the navigator, go and dash forward. Take your own arbitrary course. 3) P2 is first surrounded by P1/3/4, who try to block P2’s way with both arms stretched out wide so that they form a line 4) P2 stands still but keeps a certain tension, aiming for a chance to get out of the enclosure and become free. 5) On the cue of “next number, No.2” by the navigator, promptly return to the starting point. Exercises – Points of Observation for the Breath Body: How to be able to know the BB a) Close your eyes and feel your heart beat. b) Describe the outline of the MB (Material Body) and sense the texture of the BB (Breath Body) within the MB. c) Continue to sense and detect any gap in your sensation between the MB and the BB. – Warm-up 1) Train only dashing, all together. 2) Walk around speedily to create your own kind of Moebius loop while keeping both arms stretched out sideways. Before you would collide with others, turn immediately to change direction. Continue walking. 3) Lie on your back and let your partner make an outline of the MB with her/his finger tips on the floor, while simultaneously touching and gently striking both the MB and the floor. Solo interpretation 1. Turn your back to the audience and stand at an arbitrary starting position. 2. Turn back, walk forwards and stand at the acting position, then start Act*. 3. Return to the arbitrary point of your solo’s starting position. – Note The index number is displayed during 1). The animation is displayed during 2) Act*, which has the same timing from the beginning to the end. * Act 1) Take over the role of P2 and examine <How to be able to know the BB> a–c. 2) Go on to feel the accretion of forced external power, and by and by let yourself be enclosed. 3) Slowly let yourself fall asleep. **Take enough time to do so. After that, keep your eyes closed. Stand still. Envision an image of how the space surrounds you as folded energy, operated by the functions of Breathing-In to fold up, and Breathing-Out to approach you. 4) The moment will arrive when you come to a dead end due to multiple folded energy. 5) Take care of good timing and open your eyes by sudden. And so on.... 11 About the Breath Body ( BB ) What is the BB? The Breath Body is a vaporous body, never standing still, lumbering and changing, which we can perceive if w e develop a certain sensitivity for it. It is a way of body perception which differs from the materialistic and scientific ones. This invisible inner energy body is as big as the real body which consists of muscles, bones, and skin. This energy body is original material, which can be transfigured in its own right, a creature/creation of its own. First, we begin with recognising and discovering the BB within our body, this transparent body. This invisible inner energy body is never perfectly united with one’s Material Body (MB). Perceiving the BB, one finds a gap between it and one’s MB. This discrepancy can be remedied, which is an initial step in the reorganisation of internal functions and bringing about a self-renewing and malleable form. What is its purpose? Any bodily motion naturally happens when we feel a desire, a necessity, which performs itself. To create my own shapes & patterns, I was searching for a way of symbolising this invisible inner energy, the BB. It is a starting point for creating any shape with the MB. And this BB (that is, the body without organs) is a resource for the perception of bodily motions. We can say that making any body shapes & patterns needs the control of a masculine power (MB) through the sense of femininity that is characterised by indescribable feeling (BB). So, with this piece I am making an effort to explore two things: the first is how to deepen perception of the BB in correlation with the BB. And the second is how to manipulate the BB in order to become one as the entire body. What are the artistic viewpoints? At this point there are two ways of dealing with the BB. One is the natural arrangement of adjusting two bodies in one, which aims to heal or to deepen its perception. The other one is the artificial arrangement of evoking a state of ambivalence, which antagonizes and deforms the perceived the BB as an instrument, in order to access multiple expressive functions and various possibilities of reflecting our individual aesthetics. These 2 different bodies mutually respond to the process of transformation, and are manipulated on an intellectual level as two objects – MB & BB – which we can call “subjective object & objective object” and “content & form” in parallel = “instrumentalisation”: treatment of an idea as an instrument that functions as a guide to action. This is intended to stimulate creativity. And then, the body could be identified, articulated, and define itself in various aspects to be conceptualised, aestheticised, technicised, mediatised, poeticised, theoreticised, politicised etc… 12