malin astner

In my pieces I have utilized the technique of instant composition. Here, the process of making differs from the conventional, in that the dance/movement is not conceived in advance and rehearsed towards a pre-determined form, as in the traditional choreographic practice that supports the authority of the choreographer. Instant composition is a type of directed improvisational technique where the dancer creates, compose, and perform simultaneously, in the actual site and context of the performance stage. The technique of exercising choice within the “present moment”
of the dance, is one where I have tried to formulate a “practice-based research,” in order to understand the relationship between theory and practice.

What really interests me is the creative moment. I work to divide it into micro-parts in order to be fast enough to make a decision of action. I have worked on the memory, since we associate very fast as we move and this association can fool us into nostalgic moments that are not helpful in performing. Therefore the idea of unconscious memory is more interesting, it proposes that the memory not necessary emerges from thinking but as you move in a space (within its affective tonality) the body guides you through it, knowing about it already, within a “body-memory”. A memory is always in the present and therefore never the same twice. It is the same with movement, that is the action of a now, bringing the past towards the “coming into being”, and pointing to a future (underlining the circularity of time).

The refined, tactile awareness of presence in the moment is in constant interaction with the viewer and from this interaction a course of events “the piece” emerges. The focus however cannot be in the implicit, it needs a clear shape in the explicit work of details from segments of architecture, sound, physicality and dramaturgy. Therefore the need of concepts and methods, to foreground the underlying relations and lure association-flow. The outcome can reconfigure and alter space.