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00:07:22 00:07:33

This is not a lesson. Don’t trust my words. It’s a proposal. Sometimes I don’t trust myself.

00:07:52 00:08:16

There is something intimate about the relationship between the way your body moves and how it’s commanded by your thoughts.
I think this intimacy is what moves me.

00:08:26 00:08:33

This room is full of images. Let’s pick up some.

00:08:45 00:08:52

But it’s not all about concrete or abstract images. Or construction.

00:09:27 00:09:44

You occupy a spot. You move for quite a while and find the boundaries of the position on the floor.

00:09:49 00:10:06

Using your muscles, playing with different tensions to create some specific shapes, related to the surface of the ground.

00:10:18 00:10:23

Playing with gravity, posture, poses.

00:10:23 00:10:34

By finding the opportunities and limitations, your body can get an idea how to continue.

00:10:44 00:11:00

You’re on the same spot… all the time.
Like an insect, glued to the floor.

00:11:03 00:11:13

You know that is how dancers talk: find your own animal… you are an animal.

00:11:14 00:11:27

Or let’s say you are in an animal state. An animation animal. Animation of animations.

00:11:28 00:11:42

Don’t trust your animal too much. Is it really yours or is the copyright of the movement owned by someone or something else?

00:11:53 00:11:56

You are on the floor for quite a long time.

00:12:01 00:12:13

Time to be somewhere else. You stand up… very quickly… in three, four sharp movements.

00:12:14 00:12:24

You cross the stage from left to right. It’s taking you 1, 2, 3, 4, 5, 6… 18 steps.

00:12:34 00:12:44

The character of the moving body can be described just as the actual movement.

00:12:49 00:12:54

Come closer, close your eyes.

00:12:56 00:13:12

So, you are moving on that right spot with the feeling that you have very skinny body. 
Hands up. Very straight arms.

00:13:20 00:13:40

You are smoothly moving your upper body, starting with your ribcage, like the waves after throwing a stone into the water.

00:13:42 00:13:46

Having the image of Jesus in your mind.

00:13:50 00:14:00

To describe is to create.
To create is to describe.

00:14:09 00:14:12

You can open your eyes.

00:18:22 00:18:48

Some nice patterns, like a moving pelvis, always find their place and time… and you may not even be aware of where they have come from, but you know they have found their place.

00:18:50 00:19:03

What’s good about using certain patterns is the confidence they give you in terms of presence.

00:19:03 00:19:11

It’s like your first cup of tea or coffee in the morning - just the right thing.

00:19:12 00:19:20

If you find a posture, a presence, other things will come.

00:20:05 00:20:16

For me, repetition is a good tool to find the meaning of a movement or to tune into a different one.

00:21:02 00:21:06

I’m starting to miss some music.

00:21:09 00:21:16

It would probably help you a bit with your hard work of perception.

00:21:19 00:21:23

It could support me with the flow of the movements.

00:21:29 00:21:34

I got up this morning turned on my radio
I was checking on the surfing scene…

00:22:00 00:22:03

Let’s take more air.

00:22:46 00:22:49

Even more air…

00:23:04 00:23:22

Oops. Now I’m invisible, but hearable. But I continue to do the same things. I can do this for ages in my private space.

00:23:24 00:23:36

I’m starting to be more interested in physicality and more concentrated and less interested in words.

00:24:12 00:24:28

Fingertips, space between fingers, warm palms, wrist, hand, top of the head, eyes…

00:24:31 00:23:34

Knee and wrist.

00:24:46 00:23:50

A long distance between right wrist and left hand.

00:24:50 00:25:00

Heels. Pull it. A small movement by the left hand.

00:25:19 00:25:33

A tree, a big one. Huge trunk. Hold it. Closer to nature.

00:25:35 00:25:43

In the mind there is a bear. Okay, bear. Come up in the tree.

00:25:52 00:25:55

Suddenly there is a ball .

00:25:55 00:26:04

I catch it. And by holding it I’m going with the ball. Not the bear anymore.

00:26:04 00:26:07

Athlete beginning of the 20th century.

00:26:07 00:26:10

Left arm try to gather something.

00:26:10 00:26:14

Still some animal behaviour.

00:26:19 00:26:31

Sometimes it is easy to create concrete images, sometimes abstract ones.

00:26:31 00:26:37

In every movement there is a layer of both.

00:27:25 00:27:43

Whil I’m moving here… I have a thought to go there. But I don’t go there.

00:27:49 00:28:00

I have a wish to go there. But I’m staying here, with my idea to be here.

00:28:11 00:28:18

This idea starts to push me to go there…
I resist it.

00:28:31 00:28:48

Then after a while, I decide: Okay, I go there. But still, I hold myself back and continue to stay here.

00:28:55 00:29:09

So being here for a while makes me think:
why shouldn’t I go there?

00:29:20 00:29:36

When I’m here, I continue to do what I did there. I have another thought: to go there.

00:29:42 00:30:00

Then I say to myself: Okay, you were there. Now you’re here. Why do you need to go there to do just the same?

00:30:05 00:30:18

So instead of going there, I decide to return back with the possibility in mind to go there.

00:30:32 00:31:04

Here I have the history of being here and of being there. And the possibility to be there. So what shall I do with this history? Keep it in mind and take the next step.

00:31:27 00:31:49

This is a quotation from a movie. City of Angels. Nicolas Cage. Actually it’s not such a good movie.

00:31:54 00:32:02

I have some more of my favorite ones. Even if I don’t remember from where I got it.

00:32:21 00:32:30

All these movements have history. They come from someone or somebody.

00:32:3000:32:42

But by using them, it will change. It will become yours.

00:32:42 00:32:50

You cannot steal movement. You just use it.