Symmetry is lifeless- Humphrey explains that “symmetry is a passionless state” one that is calm and safe (159). She also likens symmetry to “wallpaper” in the sense that the patterns act as a background for something else. I definitely think I have played too much with symmetry so far in my dance. I didn’t make the connection that symmetry is a safe space until someone in my critical response session mentioned that the patterning in my dance felt like watching a “tennis match” because of the back and forth nature of my movement. I want to eliminate some of this feeling but also keep a small amount because it allows for some “prediction of my next move” which someone else also mentioned during critical response.
Two dimensional design is lifeless- In a similar vein to the symmetry argument, Humphrey calls out two dimensional design as providing a “devitalizing” feeling that artists are often not aware of (161). I find that I am relying on two dimensions more than I am three dimensions so this is another aspect I am going to experiment with this week. However, I have also received feedback that the two dimensional work I have presented so far has provided the audience with a more interesting point of view given that fully facing the audience can sometimes obscure certain gestures.
The eye is faster than the ear- I think I have done a good job of working with this point in mind. I try not to rely on the music to carry my movements and instead focus on accentuating my movements. In fact, I practice without music at first to nail down the movements before adding in the auditory aspect.
Movement looks slower and weaker on the stage- Humphrey argues that moving from the studio to the stage brings both a more holistic viewpoint and also a sharper eye for sloppiness (162). When I did acting in theatre I experienced a similar phenomenon and totally agree with her on this point. I have tried to work on this aspect by sharpening my movements and even over accentuating them in the hope that when translated to the stage they will look “about right” (162).
All dances are too long- I have not thought too much about my dance being too long so far given that I haven’t completed it yet. I do think that once I do a full run through of my dance I will be able to consider this point more critically. However, cutting down on moments of symmetry and two dimensionality will surely help.
A good ending is forty percent of the dance- Given that the way in which I conceived of this dance by thinking about the ending first, I feel like I have a good idea of why this is important. I want my ending to be both logical, so that the audience can anticipate it beforehand, but also surprising. Humphrey addresses these two aspects, what she calls truth and surprise, as important components.
Monotony is fatal; look for contrasts- Humphrey cautions against monotony mainly in terms of timing. She points out that extremes bring out better reactions for the audience. I purposely start my dance very slowly for this reason. I do think that I can manipulate my ending and the middle part of my dance to be more varied in tempo however. I hate to be monotonous myself, but as I mentioned earlier, by dropping some of my symmetrical moments I will be able to create more contrast.
Don’t be a slave to, or a mutilator of, the music- Luckily I don’t think I will be “mutilating” any “well-known string quartets” or any of that sort of business, given that I will be choosing just one song to use in my final performance (164). I find that her point is a little behind the times given that today’s world of music includes lots of digital sampling and mixing.
Listen to qualified advice; don’t be arrogant- Humphrey cautions us to listen more and be more receptive to feedback, which is a point I totally agree with (165). Celeste mentioned just the other day that we need to ask ourselves why a person would want to come and watch our dance and I think this point also relates back to what Humphrey is saying. I personally feel that the critical response sessions make me more open to feedback.
Don’t intellectualize; motivate movement- I really connected to this point about not intellectualizing movement. However, contrary to Humphrey, I do think that intellectual concepts can be combined in with dance in ways that are creative and still keep the motivational aspect of movement. Movement should be a product of intrinsic motivation and it should feel good! I have tried to stay true to this idea as I conceive my dance.
Don’t leave the ending to the end- Don’t leave the ending to the end, an ironic end to the checklist given that Humphrey already made a similar point earlier. Even though I have an ending in mind I haven’t fully played it out in movement yet. I find that this could be a great next step in my creation process.
