D.A.M.

ANIMIC DEVELOPMENT OF THE MOVEMENT

 

 

It is a research project, which has as object of study the essence of the movement in regards to its various circumstances and manifestations.

 

The process develops from the observation of the flows of movements derived from specific kinetic situations, in order to extract impressions to be analyzed, reorganized and directed towards the composition of scenic experiments composed by the same dynamics observed.

 

Each impression identified has its own characteristics which relate to sensations of expansion and contraction in regards to the flow of movements from which it is derived. The combinations of such sensations generate charges that can be sensorially read through the perception of density grading. Once the density charge is simultaneously transcribed, both in the internal and external spaces, it can also be visualized as abstract structures, which are actually the extensions of the relative reality created by this process, which, linked to the ideas of space and time, induce a simultaneous perception of all elements, no longer allowing their recognition in an independent or isolated way.

 

The result of this initiative is shown through the works that come up from relatively simple ideas, and which are conceived to work as dynamic systems, where all elements present converge within their own logic, which defines the guidelines of the work and, consequently the action of the performer. Thus, we can consider that in this creation process the narrative remains always open, because it never derives from a specific theme or a preconceived Idea, it simply becomes a presence and it is defined by the relative sight of the spectator, according to the reading of the sensorial charge generated on stage.

 

In the practice of research procedures, movement flows can be observed through distinct reference points. It is possible to extract kinetic impressions from internal sensations, thought images, moods, perception of the movement of a body transcribed in space, from the sensations caused by the movement of your own body in regards to the forces to which it is being submitted. Therefore, possibilities and their combinations are infinite.   

 

 Lately, one of the practices that have been regularly absorbed in the investigation process is the use of objects as study material in the development of the integration of movement dynamics. Some of them had been created or elaborated for the exercise of a certain action, others are of common use, but they had been removed from their original context and utilized due to their kinetic characteristics. The application of these objects is encompassing: they work as inertial instruments, which manipulation determines the movement language of the work and its construction concepts; they potentialize movement flows, making them more evident; they act as time and space meters creating references for the reading of the kinetic impressions; they encourage the visualization of abstract structures; they determine random conditions; they conduct the action, submitting the creation of the movement to their dynamics; and they expand the perception state to the extent as to enable the simultaneous identification of the various factors present in the scene. So, the development of an integrated state of perception is defined within the parameters of this research as “Sensorial Body”, and represents one of the primary conditions for the elaboration of an animic language of movement.

 

In an overall context, “Animic” is whatever is related to the soul (Latin: anima), to which one can attribute various meanings, such as: life principle, essence, primacial condition, vigor, courage, enthusiasm, will, etc. The term animic within the context of this research, refers to the essence of movement in regards to the force that triggers it. If we consider any kind of manifestation of movement as an action, the recognition of its essence will be intrinsically connected to the identification of its origin and the understanding of the network of reactions caused by this action.

 

In another situation, if we observe the action from the point of view of consciousness, we may observe that it is always preceded by an intention, whether conscious or not, it always derives from three internal states connected, which, according to the circumstances, alternate their prevalence, directly influencing the performance of an action. These internal states could also be considered as animic states, and would be represented by will (desire, vigor, impetus, instinct, etc.), by sensibility  (sensation, perception, emotion, feeling, etc.) and by reason (thought, idea, analysis, etc.). Therefore, we could state that each and every human action originates from the prevalence of one of those three animic states connected. Whether the action in conscious or unconscious, instinctive, casual, reactive or intuitive, it will always be associated to an internal factor.

 

In the practice of the method of Animic Development of the Movement, the states act integrated in the same focus and organized in a prevalence sequence that allows the manifestation of a continuous cycle of transition of stimuli. In this case, an impression is identified and its contents is sensorially absorbed and understood, creating parameters for the information to be set in order and organized in order to generate stimuli. The stimuli activate themselves in a system which operating provides the identification of a new impression that fits within its primary guideline, restarting a new cycle and so on and so forth. Under the eyes of the observer, the alignment of states focused on a common point creates the filter required to select the impressions that would be significant to establish the dynamic structure of this system, according to its density contents.