Suzuki Musings
Yesterday in Suzuki we began class with standing statues. I always get a lot of feedback from doing statues. First of all, I need to remember that there is no better workout for the backs of my legs. Breathe became a primary focus of the work. As you snap into a statue you allow the diaphragm to drop and the breathe naturally enters the body, we added a horizontal slash from inside to outside line, during which we suspended the breathe, after which, we released sound on an open vowel juicy diphthong. This was a test of the freedom in the vocal apparatus. I have always been working toward more effort in Suzuki and this week, I am trying to use breathe to be as economical with my movement as possible, to make it feel like it has relaxation in it, but also, by utilizing the breathe to generate movement you actually can be more agile and free, flexible, and faster. Release unnecessary tension. Today we added two times through, high, high, mid, mid, low low, Repeat left side. We also added free style with the idea that our center of gravity is attached to our eyes. The focus of Suzuki work operates on the notion that we see with our whole body and our whole being can be seen through out whole body. You can think about the eyes looking forward, and then rolling up in the head to see what is above, as the gaze continues to rotate to the back of the head, they connect to what is behind, they continue to rotate to what is below, seeing down to the center of gravity, and as they travel that vertical column to the center of the body and continue to rotate, they connect they concentrate on an image out in front of the body, near, far, or infinitely far away. Facial expression moves out of primary focus and the whole of the body takes precedence. The freedom of the voice also becomes primary. In Suzuki it is always that the body is in relationship to the external image. As we added freestyle statues, the center could face any direction and the eyes remained in line with that image. We added carriage of the arms into the work, always in relationship to something external. I have a lot of practice to do in regard to investigating 360 degree space. I always find that arm carriage feels to predictable, generic, and repetitive. The human is much like a ball of light, potential for expansion in all directions from a central source.
Next, we moved onto stomping and slow ten. As I watched the other group perform I noticed the specificity that Barney was working with in terms of an innate intelligence of where his center of gravity was and how he was moving it through space at a steady pace while maintaining an absolutely vertical vocal column and length through the back of the body. Listening to the music became another layer of concentration, and gaining independence in the complex negotiation of space, distance, and the time it takes to travel at a consistent pace to be in place for the fall. In the rise, we discussed the need for a strong image to anchor the body as the upper body begins to lift off of the ground as if it were defying gravity. Again returning to the idea of breathe. Working toward a sense of ease in both the stomping, while also maintaining stillness in the upper body became very interesting. Also, the battle to continue to grow stronger as the stomping progresses has become a delightful challenge and exploration. We added a carriage of the arms to slow ten. This gesture is born out of the rise and connected to the image that you work with and partner.
In basic 1, we added specificity to the idea of slamming yourself into each moment with the understanding that we don't know what will happen. Also, attaching a cable from the center of gravity to the earths center of gravity, and pulling that kind of resistance through space but also stopping as it snaps to being taught. Movement with great effort and impact, power and strength in the lower body, but smashed into stillness at the same time. That stillness is charged with all the impact of the strength and power that each form generates.
Today in basic 2 I had a bit of a struggle with balance. Just need to keep working and stop allowing wobble to be an option. I need to develop an image that will allow for more stability in a single leg. I don't have enough image work developed with this.
I worked in tandem with MiKaela today on Basic 1, and the notion of speaking in a human way, but with the intent to knock her over. Overcoming the need to be polite or kind, or not aggressive, or persistent, is something I need to take to all my work. Urgency, it matters, We had a small discussion about intensity and what generates intensity. Creating an obstacle and a clear objective with that obstacle was part of our conversation. Also, the beginning of intensity starts with the decision to engage instead of flee from something or someone. There is a strong enough perspective that someone must engage, it matters, it is important.
The training is an opportunity to prepare for rehearsal. Work on relationship, craft shapes, generate movement, make decisions about image based on character. Develop metaphor.
