Day 5: Notes

Day 5 Notes
Linda Putnam Workshop
August 17th, 2007

OVERVIEW

MORNING
30 minutes personal warmup
Sourceroom the 7 Character Stages

LUNCH with questions from Group

AFTERNOON
Sourceroom the 7 character stages
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MORNING NOTES

Warmup (30 minutes personal
- go from head to toes
-go through image from the physcial
- if there are images - GET THE OUT - they may be above you, below you, to the left or to the right of you
-come back warmedup - both physically and intellectually
- if your trancing, stop and start again
-lets try not to drop out
-Linda will come to visit
-no unconscious violence

- By the time you were 8 you knew what you were - in the context of violence something happens to us very young

* 8 Part Sourceroom (See your diagram)

Caracature

- a mix of wit/simpllicity and grace - 1/2 made up man - blunders have grace in them - has the playfullness of a kitten - always in love and always in trouble - he is inflicted and controlled as easily as a child

BOOK Stan & Ollie: The Roots of Comedy by Simon Louvish

- Sourceroom

- transformational wheel
- initiations - your image life will put initiations on you - a crisis will occur and then your images will change

Japanese Theatre

Q: Whats the flower in Japanese Theatre?
- life is seen @ petals of a flower - a genuine flower pulls into imagry the experiences of your life
-the marvelous flower - is the ability to breath equally over every flower petal - may happen 3X in a person's life - an artist's life

-takes a long time to identify new imagry - and there is always images you have - sometimes an image you've never seen - you follow or regret - this increases our wisdom @ artists - thats an initiation - 50% pf technique is search - an artist's job is search

PRINCIPLE: No one is except from having to face themselves.

Sourceroom with 7 characters

- go to Energy if you feel grief
-masque/mask is great for rage - because its a pure passion and you discover it in masque/mask - like a new being in the world

-Momentum can be described succinct in the neck - you can describe arches with the neck

PRINCIPLE: Perpectual Motion

- look for rhythums of different body parts

- cat neck from shoulderblade up - watch for becoming blind - once your blind you are a danger to yourself and the people around you.

Q: What do we @ artistis do with violence?
- anger is a luxery we cannot afford
- in a river there are classical roles: The Leader, The hidden Leader, the rebel, the victim, the nurse, the silent partner, the derailer
- we use these roles to see if there is anyone that can contain us - trying to prove that there is no one that can contain us - and that we're no good - we have that instinct - we introduce secrets

- 1st think tht happens in group violence
- group will circle the violence
- sometimes no one will take the violence
- or group will see the image and they will see it too
-if nobody sees you - you may feel that no one can contain you - but you need to find a body that will contain the image - that way you can present it to the group

- need to work it especially if you are ecitable
-we often all start in violent and corrupt (Japanese Theatre)
- we have a workgroup thats taught in silence / a silent room

- hitting yourself is violence and an indication thta you have no idea of your presence - as that violence comes in ytansfer it into full body voice, chorepgraphy, instrument, breath
- adgknowledge that you are interrested in taking someone out
- words and colour (writing and painting) have different issues than working bodies - we train ourselves to be out of control - so we train in 80/20
-we play out of control - you score tightly when playing passions

*** Where you put your eyes, thats about the size, thats about the size of it.
-always go for the bodypart thats blind, that never changes
-80/20 keeps you in the sphere of choice & expression

Q: Whats an oblique?

- Jung says what drives us mad is the presence of the intolerable image
"It is the corruption of beauty that drives men mad"
-he choose Medusa as a metaphor for this process
- in your little people, bring them up and see them?
-when you have a life experience that is so strong that we don't want to expolit it (3 years for a recent death) - you can work it in a sourceroom, but you don't sell it to the people

OR

- we're in /paid to do a play, choreography etc where an intolerable source comes up and you don't want to sell that source
- in either case you find an oblique
- take the life of our images
- there are four guides to images : the child, the world, the self, the elder
- search for an oblique

TO FIND AN OBLIQUE

1. you take the experience - the feeling of the experience
2. walk in nature and look for an image in nature (rock, bench) that corrolates to the exact feeling
-a static image, no clouds, streams are hard too
- an entity
-use that image ot olique when the intolerable images comes up
- slip the oblique in @ a source
- for a death you take three years with an oblique
- play the oblique like you play the source
-why aggradize ourselves and others through our suffering?
- artists need happiness, to tell the truth, a kitchen table life & money in the bank
- artists derve thse things - so why don't we do it? - why are we spilling all over ourselves.
- are we so preciuos that we have to sell ourselves?- we need to survive - we don't have to sell ourselves
-Byron & Shelly could afford to suffer - they were rich

Q: Can we work two sources at the same time?

- an old gyspy saying: With one ass, one cannot ride two horses
- a source can be run on a babywheel
- some transformations go from a - b
- some transformations go from a1 - a2
- some transformations go from a1 - peek a1 - denoucement (like in Tom High / Tom Low)
- transformations can run within themselves
- look for static bodyparts

PRINCIPLE: 3 X rule
- watch the pacing of feet etc.
- The trance - a bodypart may feed you but it can also take something away from you - weight on that bodypart can help
- make a sound on each part
- if you can't make sound - try another resonator
- teacher takes your hand to add companionship - the innocent you take along - also sometimes for force of hands
- If there is Force in a bodypart
- Try the principle: Left / Right dissassociation

PRINCIPLE: Go deeper / Go Deeper Search Further Search Further
- sometimes Go Shallower Go Shallower is the way to go deeper
in the violence work the teacher throws themselves on a body part and you try to throw them off until the student begins to understand that that body part can take them into an image / corporal / plastique etc.
- then you try to keep teacher on you - the body part begins to work - still work the weight of the image
- Wait for the Weight - thats how you know you have an image - you can feel the weight
- if you can get a breath to MASK, it will give you content - it will be a breath you'll never forget