Friday, January 10, 2014

time spiral….and suddenly a new year…

The transition from 2013 to 2014 brought a whole questioning of how I handle time, pace…what's my pace, how is my emotional time interacting with practical time and social time and the oniric time in relation to "palpable" time…would it ever/never be palpable. 


  "Kazuo's fundamental, or what I would call intuitive, approach to live performance doesn't entail that he simply steps out onto the stage and starts improvising on the spur of the moment. There's a lot more to it than that; it's not simply a matter of anything goes." He doesn't discard an entire life's experiences, or all the knowledge and craft involved in the making of a performance. On one level he remains very conscious of where he is and what he is doing. And yet he attains a level of consciousness that allows him to forget the self. This spontaneous approach frees him from certain strictures-such as a rigid choreography-and, what's more, enables him to flow with all that surges forth from his interior life. 
   Kazuo's dance gives birth to a fluid sequence of spontaneous images; it's as though he's carried on wave after wave of subjective impulses. Prominent among the many landscapes and moods evoked are those he discovers in the recesses of his subconscious memory through his writings. While he's perfectly aware of the fact of that he's onstage, and of the ensuing in-built limitations of a performance's framework, he nonetheless freely interacts with the universe he creates. His creative output exemplifies a working method in which cognitive control is closely allied with an intuitive process. i've often been struck by the fact that it's only when mind and body freely interact that Kazuo truly dances. His dance becomes lifeless as soon as he's caught up in thinking about how to move or is dictated to by habit. "
Excerpt from -kazuo ohno's world, from without and within-

Kazuo Ohno