To explore her fascination of impossible classical concepts of perfection.
To better understand how to access “un-codified” movement solutions for her choreographic process.
3–minute sketch of self-solo; clear theme and dramatic structure
add on and develop choreography/movement; clarify dramatic intention of the character
uncover ways of moving outside of Ballet and Graham techniques.
First Questions from mentors:
Is the narrative structure within a recognizable dance theatre form (eg story ballet, melodrama)?
Do you want to flip between different modes of movement (codified to your sense of uncodified)?
Do you want the persona to present a clear dichotomy or for the narrative to be more transformational?
Development and Skill building:
Single clear gestures/images became the basis of extended, fleshed out dance sections.
As a dancer she experienced filling the set dance phrase with what she was sensing at the moment.
To express what something “is” rather than what is not; eg the phrase “non codified” is general, more useful descriptors are: wild, forceful, abandoned.
To release attachment to preconceived narrative during the creative process to allow room to find other solutions.
She has self–generating power and intelligence that she can unleash to do whatever she wants to.
ABOUT: KEIRA KATHLEEN SWEENEY (2016 from Ottawa) emerging dance artist in genres of contemporary ballet, jazz, modern. Graduate of Marymount Manhattan College, Centre for Performance Research and previously Canterbury School for the Arts, Keira is developing her dance voice as instructor, performer and creator in her homebase Ottawa.