Communication Across Vast Distances

“Acting Is A Training For Life”

Byssus is engaged in an act of communication with the dead through a series of taps, odd knocking noises and strange sensations.

It is an entirely wordless communication act. In terms of language I am having to translate these sensations retrospectively. In the first instance into a language of science (which I have some familiarity with in the second place into the language as it is known in the teaching of the arts (which I am only familiar in its unspoken form).

I have a familiarity with a range of movement techniques, Alexander method, Labin and other studies from the psychology of movement as it developed in the arts in the 1930’s in Germany. Work and movement studies from Russia were also an influential factor I understand. But in terms of understanding the literature that list is as much as I know.

My knowledge is entirely formed by taking part in a series of movement classes over two years at the Bristol old vic. effectively an ongoing rolling experiment conducted by the schools dancing master over a period of 4o years.

Communication, learning the lesson was a wordless processes. No lengthy discussion or recourse to texts books.

What I have in my mind is the memory of how my body related to a series of rhythms. I can identify and isolate one. I move from my head to my feet trace the sound across the room to a stick move up that to the source of that sensation and I met the mind of my teacher once more.

Isolating that rhythm and understanding what it is, gives me the opportunity to engage in a differing form of communication and learning.

This form non-direct, fragmented and at the outset I seem to have to translate the experimental methods developed in art first into a language of science then back into the philosophical and literary discussions of the Art’s philosophical experiments.

I can just about start to put things into a first early form of written language. I have I suspect to interrogate Rudolf Labin.

Embodiment + Absorption =Abstraction. Thats me understanding the sound of a stick hitting the floor as a communicative act between two minds and my first attempt at translation.

This is Labin’s form of language. Space, Weight, Time, Flow. If I am very lucky I may have a direct and immediate hit. I think I can identify further aspects of the experiment and find them in Alexander technique (relating to posture and scanning). With psychology I also know that in the case of my teacher he studied economics before ballet and became interested in early work and movement studies conducted in Russia.

So I have a very rough time frame. A practical experiment which unfolded during a 30 year period in the U.K. with three of four generations of classical actors as its laboratory rats and a philosophical and scientific origin that developed in Berlin between 1930 and 1940.

In terms of modern psychology I am uncertain if I need to find someone with an interest in developing understanding of movement in the arts and its philosophical history. English lit would be the obvious bridge. But I have a bias here and find it too theoretical and non-observational. Perhaps oddly I am more comfortable with the empirical sciences here. The relationship psychology has with experiment and observation I am very comfortable with. Its relationship with language, less so. But then it is this relationship that seems to be the barrier here.

It seems like a plan. Literary search time. Not sure if l can call this the start of a processes or a processes that ends with words. But I require no sense of time, it is a transition between different forms communicating knowledge between minds.

In some minds attempting to turn the present into the past in the discovery that we are living in a watershed moment the start of a post-literate age. Wordless world of the future.

This is criticism in its most unmoving and judgmental form.

I would like to note that I am not dead yet and have not recently been born. This would seem to have some relationship with the events we are living through. You do not have to stand up and wave a flag which says I have something to say but one with the more basic message. I exist. I am here. I always have been.

I would like to be included within the past and located within the present.I am happy that you recognize me, sad that you’re historical sense seems to be based on a rise and fall and rooted in decline and loss. That is a cultural misunderstanding. Time is not a factor in our differences and they are smaller than you think.

It is not me you have not recognized, you have missed something within yourself and located it in a future, where it is not to be found and cannot be reached.

 

 

 

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