– Emotion and performance: Inside-Out vs Outside-In. In theatre we have clear parallel examples of the two approaches: Clown and commedia are largely outside-in forms. Stanislavski and Meisner acting technique are all about inside-out.
– Do choreographers and dancers have a fear of narrative?
– Can abstraction exist within narrative?
– Choreographers and dancers want to be understood, yet often avoid narratives in their work… even though narratives and their context are where human understanding comes from.
– Can choreography itself be a narrative?
– What if in your work you sought the emotional reaction?
– Context creates emotion.
– What happens if you seek disorientation?
– What happens to your dance if it does have a narrative?