Karol	Tyminski

Karol Tyminski

Course
DAS Choreography
Class
2020

In my artistic work I am engaged in the process of creating choreographic strategies that could potentially bring the culturally governed understanding of self into vibration, not on the semiotic but on the phenomenological plane. The plateau on which those strategies are tested is physical matter, inorganic and organic, in the forms of non-human and human entities.

In a workshop I propose to introduce a "brutalist" (association with Le Corbusier is right) approach towards the creation of choreographic material, in which not the form of the movement nor it's cultural codes are at its central point but the physical aspects of the human body. With the use of a various limit experience techniques and an exercises of shifting one's perception of the human physicality from a fully formed being to physical matter, part of which is a practice of a deconstructed (self)wrestling, the participants are engaged in a clinical-like examination of the body where its construction, the material it is built from and the physical nature of the labour it performs are exposed. The body in here, seen as a source of the choreography, becomes a playground for testing movement-relations between its proto-bodies in which the question: what the body can do, rather than: if it can perform in accordance to the assigned to it motility, is been explored. The body that stretches, bends and twists, motion of which in here often becomes alternative to the human motility, is brought to its limits, an impossible dance via which its cultural reading becomes obscured. As the efforts of the body, in the process of speaking about its' own physicality, play in here a significant role I teach the participants to be constantly reducing the movement to the point where it is striped of any "decorative" elements and those efforts come forward. The procedure, informed by the studies around the relation between the practice of imagining physical activities and the neuromuscular response, allows the audience to follow the development of the performed labour and in result the performer's experience, which processed potentially may be translated into their own visceral experience allowing the transgression to be shared. The understanding of the body as a thing doesn't only alter the self or the inter-human relations. It also opens a door for redefining one's, often consumer-centric, relation towards the non-human entities. As the practices I mention above are shifting ones perception of it's own body they also increase one's sensitivity towards the inorganic, becoming a plateau for experimenting around the interaction between the both where the object is not regarded by it's utility but by it's physical characteristics, it's evolutionary history and as well non-monetary value. It is the practice of being with, feeling with, where the statuses of the human and non-human bodies equilibrate and come together in an act of "cross-matter eroticism".

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