Corporeal Traces and Moving Identities

Abstract

In spite of the fragmentation that I experienced in rehearsals, in the performance of Solo³, I found a sense of continuity that led me through the three pieces. The entire programme became a complete gestalt so that the separation between each solo was less distinct. The process of destabilising my known and habitual movement which seemed central to integrating the new choreography throughout rehearsals was no longer as pronounced in performance as the three-solo-evening became solidified into a sixty-minute event. The running order of the solos created a particular pathway that I assume would have felt very different if they had been run in another sequence.