Choose three images / events from the map and name them

Move between the three, applying all the tools, allow all that you do not know to become present

Pay attention to transitions

Transition as a place of potential

Hold the space between where you are coming from and where you are going to

Delay the transition

How do you take yourself from A to B? Do you slide in fade out fall into find yourself in something jump cut slip into leave behind leap forward?

Experiment with different ways of staying with something and moving on

Tell diverse movement stories to your partner

Report everything what is happening in your body

Report every minute change, shift, movement

Report as the things are happening, not before and not after

Variation 1

Play with the timing of moving / reporting

Play with voice

Variation 2

With a partner

Doer moves with eyes open and reports everything what they do

Witness has their eyes closed and follows the reporting physically

The aim is not to teach the other a phrase or get it right

What is it then?

Try out: the doer having their eyes closed, the witness eyes open

What opportunities for choice making do open eyes bring?

How can you engage with space and with time?

Change roles

Variation 3

With a partner

Doer moves with eyes open and reports everything what they do physically, on the level of actions, movements, materiality of the body

Witness has their eyes closed and follows the reporting 

Change roles

Variation 4

Doer moves with eyes open and reports everything what happens in their imagination

Witness has their eyes closed and follows the reporting physically

Change roles

Variation 5

Doer moves with eyes open or closed and reports everything what they do both on the level of action and imagination

Witness has their eyes open or closed and follows the reporting physically

Change roles whenever you want to

Can you build a story together?

Variation 6

With a partner

Anyone of you at any time can decide to witness, become the doer or / and the reporter

One role is in the foreground

The roles shift as often as you want 

Can you build a story together?

How does this story live in space?

Breathing a word (After AM)

Exhale through your mouth as you are pouring your weight

Rest on inhales

Allow the breath to sound

Add vowels

Add consonants

Add syllables

Allow the words to form

If you know the word before it sounds, allow it to shift

The form can change in middle of the formation

Can you get surprised by the words that come from your mouth?

Variation 1

Listen to other people in the space

Can you connect respond join in fill in the gap become part of the choir?

What is the sounding landscape you create?

What is its texture

Colour

Movement

Variation 2

Find one person with whom you sound at the same time

Experiment with sounding as individuals

Becoming one body

There is no leader nor the follower

You share voice vowels consonants syllables words

Do you  create a meaning?

Do you face the same direction?

Do you move in space?

Improvise with any of the tools

Draw the map of your journey

Write down types of movies: drama, horror movie, comedy, action movie, documentary, etc.

Dance your map as a drama, as a horror movie, as a comedy…

How do the qualities of your dancing change? 

Pay attention to spacing, rhythm,accents, textures, emotionality

When you have finished an improvisation, see everything that you have done as if it was a movie in which you are starring in the main role. See the film in reverse, from the last thing you did until the first one.

Map 1

Place your pen down somewhere on a piece of paper, and let it move 

Keep moving on without lifting your pen

When a memory of the experience arises in the body, depict it through the movement of your pen. How does the memory of the experience change the timing of your movement, space, texture, turns abstraction into a recognizable drawing, into a word, emotion?

Allow for the moments of not knowing when the pen is moving, you are always somewhere. Where are you NOW?

When finished, find a partner and place the pen somewhere on the map and begin describing your journey. Speak to where you are, what you feel, what you think, what you do; keep passing by in the landscape of your map describing what you sense, feel, think and do. Do it in the present tense.

Allow for the blending of imaginary and waking realities

Allow for the blending of the time and the space

Partner is listening and noticing what arises in the realm of their body

Map 2

Place the pen down somewhere on the piece of paper with a memory of a concrete experience

Feel it now in your body and find a visual way to depict it on your map

It has a beginning and an end

Find another place and depict the second image-memory, as you are drawing it, feel it in your body

When done, tour guide the partner through your map

Partner is listening and observing what arises in the realm of their body

Map 3

After an improvisation, start automatic writing – in the present tense – about your experience

Depict sensations, feelings and emotions, thoughts, and actions

When writing establishes itself, shift from writing as meaning into writing as form and further into inviting images and abstract forms to infiltrate the writing

Shift completely to drawing a map, allowing the words to open up for the flow of images

Read your map to your partner, use the written words and the drawings to speak freely

Partner is listening and observing what arises in the realm of their body

Map 4

Lay out the map in the physical space, walk with the partner through the actual space and describe what you are sensing, feeling, thinking, and doing (mapping the map in 3D)

Observe the images you have placed in the space from different perspectives without doing them

Shift from describing to describing moving and then moving without words

Partner is listening and observing the movement, while observing what arises in the realm of their body

Map 5

As you have just mapped your map in 3D reality, and you are moving silently through it, your partner joins you

They double everything you do, slowly taking over your movement

They continue moving and you shift to witnessing the dance

What do you notice?

Map 6

Follow any of the above-mentioned ways of drawing maps

Your partner and not you re-enters the map from the beginning, and moves with it

What new perspective do they offer to your own exploration?

Map 7

You have drawn your map

You have danced it and watched your partner work with it

Step into the map again to amplify whatever you want to amplify, making a choice to curve these images in space