Performance and feedbacks

by on December 16, 2014 in all dance, thoughts and poetry
The forest is impalpable,
only trees can be touched.

Why care to the topic of feedbacks received after a performance? Because the monitoring and evaluation of any creation is a spontaneous and human process. Like it or not, we always judge our work and are looking for “external” signs that can confirm or not some of our beliefs and ideas. Since childhood we are used to having an audience (parents) who show games and skills, and from which we get signs back.
In the specific context of the “signs” that a dancer can receive after an instant composition, which by its deep nature is unique and unrepeatable, I tried to define a simple typology result of my experience. The feedbacks that we normally receive after a show can be divided into three big categories: direct feedback , indirect feedback and video documentation.

The DIRECT feedbacks are the common verbal comments received by the actor from participants after the show. These ratings may concern the dancer personally (“I like it / I do not like how TI move”, “YOU are / are not …”, etc) that the performance itself (“the show me / I did not like”, “second me the show should / should not … “, etc). These types of comments arise from direct interaction between the participant and the actor in the moments immediately following the show. What distinguishes a direct comment is, in fact, the creation of a conscious rational discourse between two individuals (participant-actor) about the performance, parts of it, qualities of the performers, etc.

The INDIRECT feedbacks are the ones I get from “alternative” sources: the “atmosphere” of the space on stage post-show, the “intensity” of the verbal exchange between the audience in the moments after the performance, etc. What defines the indirect feedbacks are precisely the quotes ” “. The “atmosphere” and the “intensity” are concepts not measurable, non-quantifiable, non-definable. These ratings do not come from the conscious rational analysis on the content of the performance or the ability of the artist, but from the depths of the world insights, feelings, perceptions that go through in the aftermath of the event. Such is so fluid and changeable the nature of these feedbacks that every time I discover different sources, unsuspected places from which to derive a feedback. It often happens that the same direct feedback from turning into indirect, simply by reading between the lines of words received. A gleam of eyes, words born and created from the heart or other centers, an emotion hidden between the content: “not WHAT is being said, but HOW it being said.” There is no way to define rationally indirect feedbacks, belongs to the world of perception and the continue transformation. Still, it remains personally one of the most effective ways of evaluating a performance.

There is also another kind of feedbacks that can be received from a performance: the VIDEO documentation. The possibility to observe for several times the show through this medium allows to see the dance from the “outside”, from a point of view “fixed and repeatable”. Of course it is only a visual representation of the event, an optical illusion. In fact, the audio-visual aspect of a movement represents just 10% of what it really is the effect of a body movement in space / time. The same as a photo of a holiday can not be exchanged for the same vacation, for how good is the picture. However, the property that the video has in order to watch and watch again a movement, to observe how the body moves in space in slow-motion, to analyze and study each joint and its relationship with the rest of the body, lines, musicality… remains from my point of view an essential tool for those who work in improvisation and instant composition “real-time”.

Each of these feedbacks are signs to be deciphered, which inevitably becomes part of our ‘mind-body’ experience as human and as performer. And life experience, every feedback received will therefore be part of any future composition and dance.

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