Contents
This work explores physiognomy and movement by approaching dance as comprised of two components – the vessel and the contents – to examine the idea that the soul holds and governs the body within a rapport professed acutely through motion.
In an improvised performance with closed eyes, the body becomes the only source of information for both the dancer and the viewer, and the connection between corporal and internal is heightened with the removal of sight. As the distant figure is paired with real-time depictions of the face, what emerge, regardless of the attempt to close them off, are visions of extreme emotion – fear, elation, pleasure, and disgust – found within even the smallest of movements. Each expression is the definition of the motion to which it belongs, momentarily revealing the soul within.
In an improvised performance with closed eyes, the body becomes the only source of information for both the dancer and the viewer, and the connection between corporal and internal is heightened with the removal of sight. As the distant figure is paired with real-time depictions of the face, what emerge, regardless of the attempt to close them off, are visions of extreme emotion – fear, elation, pleasure, and disgust – found within even the smallest of movements. Each expression is the definition of the motion to which it belongs, momentarily revealing the soul within.
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