Generating Movement- A Sound Response

by Holly Rothschild

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

I often turn to great music. I’m always looking for new and inspiring music and love going to the studio with a bunch of new sounds on my ipod.

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)?

Sometimes, I find that music really helps to create the dynamics in the movement.

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

Improvisation is key. It always a part of my process especially when exploring a new vocabulary for a piece.

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

I often will write a script and each line or paragraph is a task to choreograph.

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?

It always changes and I’m always looking for things.

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?

I look for a consistent vocabulary that somehow the language of the movement can make sense together.

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?

Yes! Sometimes, I get really tired of my movement tendencies. In that case, I may bring in a very specific direction and have the dancer create a phrase and then shape it, edit it or add to it.