Generating Movement- A Journey Into Self

by Stefanie Lynx Weber

1. What sources of stimulation have you used to generate movement (i.e. text, pictures, research, visualizations, sounds, experiences, etc)?

Emotions, stories/poems, architecture, music. Props, objects, space. Somatic, empathic and psychic sensations. And all of the above.

2. Within these sources, what specific elements have you honed in on (i.e. texture, emotional content from readings or interviews, words, sound quality, colors, etc)?

Threads between: living and dead, physical mover and image, truth and non-truth. What are these threads composed of?

3. What role has improvisation played in your process of generating movement? What value has improvisation brought in unearthing rich material?

Often times it is the primary role for generating movement within a certain section of work, depending on the number of performers involved and what the goal is. Improvisation is a very broad term for me. It seems obvious and so difficult to explain what improvisation can reveal. It is almost like saying that by walking we reveal that we are moving through space. Or something like that.

4. How have you incorporated task structures into your process of generating movement? Can you give an example of a task you’ve used?

-Start with this shape. Go to this image. Use the image to ride the sound. When the sound is gone. Go somewhere else.
-Seduce this shirt and then put it on.
-Start here. End there. In between, touch these 5 places at these once with only your big toe.

5. What kinds of investigation go into your subject before and while you are generating movement? How does this investigation guide, shape, inform your movement choices?

Reading, contemplating, walking in the woods, walking in spaces that I am attracted to moving in, writing, witnessing the surroundings of what I am interested in working with/on, watching videos, looking at images, listening to music, taking video notes, talking/dialogue, practicing a specific movement/dance technique. These actions guide, shape and inform my process by: enlightening me, making me curious, fascinating me, revealing another layer of connection, refining the topic.

6. When reviewing movement you’ve generated, what are general criteria you are looking for to determine its relevance and/or place in a particular work?

Efficiency of empathic response. The way the movement is situated on/in a particular body‚Ķit must “fit” the kinesphere of that particular body. Sometimes it is a quick narrative in a phrase and then the ability to abandon it without loss. I can usually see if the movement is off-tone, similar to a note being out of key.

7. How do you deal with movement tendencies? Do you ever feel pressure to come up with fresh movement? What strategies do you use to address and/or overcome that pressure? What strategies have and/or do you use to find fresh ways of moving?

I go back into my personal experience, back into my physical body sensations, my recent stories, my breath, my weight. I often think that the pressure to be “fresh” all the time is very silly and capitalistic. It is more valuable to me to see how an artist remains fresh in terms of being authentic in their expression rather than constantly seeking the unfamiliar.