week twelve, final performance evaluation
At the start of this process, I set out to create a powerful and emotive piece based around Dissociative Identity Disorder (DID), looking at the feelings created for the affected person due to the symptoms that they have to face. I believe that I achieved my aim of showing feelings of security contrasted with uncertainty and desperation for stability, as each of my movements were created with these feelings in mind. In my final performance, I challenged myself with my projection of emotions, as I attempted to show much more distress and confusion through my expression, which hopefully helped to convey my message to the audience in an engaging way. Although I became lost at what came next at one stage of my choreography, I was proud that I managed to pick it up again and confidently continued with my solo. Ultimately, I enjoyed the performance experience, and felt that the nerves and adrenaline that came with having an audience to be very beneficial, as it pushed me to complete my piece with full commitment and energy.
Throughout the process, I firstly struggled with time management, which I overcame by creating a time management schedule. This was valuable, as once I reached my final creative session I had completed the duration of my music with time left for evaluation and refinement of movement. I also used time outside of my scheduled lessons to develop my choreography. When feeling like I had a lack of inspiration, I turned to both my research and my chosen choreographer. Personally, I found having dynamic and breath-taking pieces to take inspiration from extremely useful and I found Pite's methods of working to be thought-provoking and successful in reigniting my passion for the work that I was creating.
In the future, I would record my movement development more often, as I found watching back my studio performance to be the most beneficial way of me identifying areas of improvement in my solo. If I had done this more frequently, I believe that it would have helped me to refine my work as I went along and I could have worked on the depth and dynamics of my movement for a longer period of time, as I feel like this would have really enhanced the fluidity and impact of my piece.
If I had the opportunity to perform my piece on stage, I would consider experimenting with lighting to elevate the emotive atmosphere that I hoped to create. For example, I feel as though blue lighting would help to evoke the sadness and confusion felt in my piece, whilst also suggesting calmness in the grounded and secure moments. In addition to this, in the section of my piece alluding to an abuse or trauma, I feel like it would be very powerful to have a harsh white spotlight on me, symbolising the vulnerability and exposure that an affected person would have felt at this horrific point in their life.
Overall, I have found this to be an interesting and beneficial process for me, as I have pushed myself out of my comfort zone with techniques such as improvisation and have choreographed a full-length dance for the first time. Although at times I found it challenging, I find it exciting that I have been able to create a whole concept from a single photo and this has left me intrigued to discover the endless the ways in which I can generate movement using unique, unusual and abstract sources as inspiration.
Throughout the process, I firstly struggled with time management, which I overcame by creating a time management schedule. This was valuable, as once I reached my final creative session I had completed the duration of my music with time left for evaluation and refinement of movement. I also used time outside of my scheduled lessons to develop my choreography. When feeling like I had a lack of inspiration, I turned to both my research and my chosen choreographer. Personally, I found having dynamic and breath-taking pieces to take inspiration from extremely useful and I found Pite's methods of working to be thought-provoking and successful in reigniting my passion for the work that I was creating.
In the future, I would record my movement development more often, as I found watching back my studio performance to be the most beneficial way of me identifying areas of improvement in my solo. If I had done this more frequently, I believe that it would have helped me to refine my work as I went along and I could have worked on the depth and dynamics of my movement for a longer period of time, as I feel like this would have really enhanced the fluidity and impact of my piece.
If I had the opportunity to perform my piece on stage, I would consider experimenting with lighting to elevate the emotive atmosphere that I hoped to create. For example, I feel as though blue lighting would help to evoke the sadness and confusion felt in my piece, whilst also suggesting calmness in the grounded and secure moments. In addition to this, in the section of my piece alluding to an abuse or trauma, I feel like it would be very powerful to have a harsh white spotlight on me, symbolising the vulnerability and exposure that an affected person would have felt at this horrific point in their life.
Overall, I have found this to be an interesting and beneficial process for me, as I have pushed myself out of my comfort zone with techniques such as improvisation and have choreographed a full-length dance for the first time. Although at times I found it challenging, I find it exciting that I have been able to create a whole concept from a single photo and this has left me intrigued to discover the endless the ways in which I can generate movement using unique, unusual and abstract sources as inspiration.
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