Presenter: Norah Zuniga Shaw

Tuesday, February 23
9:00 - 10:00 am
eMedia Studio

One Flat Thing, reproduced (OFTr) is an ensemble dance by William Forsythe that examines and reconfigures classical choreographic principles of counterpoint. In OFTr counterpoint is defined as “a field of action in which the intermittent and irregular coincidence of attributes between organizational elements produces an ordered interplay” (Forsythe).

This experiential workshop will situate the Synchronous Objects web interface on a collection of computers in a dance/media studio. Participants will be invited to explore how "real" movement in the studio space can respond to and further develop the abstracted OFTr structural systems as presented on the screen: movement material, cueing, and alignments.

Movement Material

This contrapuntal dance is composed of fixed movement material with some instances of structured improvisation. While there is no set terminology, members of the company most often refer to the different segments of fixed movement as themes. The 25 main themes are repeated and recombined over the course of the dance in their full and partial forms. In addition to the themes and their interpretation, there is a set of improvisation tasks in OFTr that ask dancers to translate specific properties of other performers’ motions into their own. The dancers observe each other and make these translations in real time, producing different results in each performance of the work.

Cueing

The sequence of OFTr is organized by an elaborate cueing system that acts as an internal clock. Rather than following an external musical structure, the dancers collectively determine the flow of the dance as they give and receive cues (aural or visual signals that trigger events). With more than 200 cues in the dance, responsibility for cueing is distributed among all the dancers.

Alignments

Essential to the counterpoint of the dance is a system of relationships that the company refers to as alignments. Alignments are short instances of synchronization between dancers in which their actions share some, but not necessarily all, attributes. Manifested as analogous shapes, related timings, or corresponding directional flows, alignments occur in every moment of the dance and are constantly shifting throughout the group. The term alignment emerges from the working practices of the Forsythe Company. Other words the company uses to describe this phenomenon include hook-ups, agreements, and isometries. Within the thousands of alignments in the choreography, approximately 200 can be understood as a subset called sync-ups. These are moments in the choreography when a dancer’s task is to briefly join with another individual or group.

See also:
Session: Synchronous Objects
Session: Visualizing Structure
Synchronous Objects Project Site
Synchronous Objects Blog