The residency began in June 2021 and will run until EXPERIMENTA 2022 as part of the Isère department’s Scène ressources.
See the invisible, give weight to the small, the different
With her project Rachel Martin wants to work on the notion of gesture memory, the interaction between a dancing body with the environment of which it is part. What is the register of a gesture, a dance, a presence (even if ephemeral from a temporal point of view) in the surrounding material, in memory, in semantics? What remains does a dancing body leave? “What's left?” “What’s transformed?”
Rachel Martin wishes to give visual expression to gesture/movement/bodily expression in a different way than the one it usually espouses: the global view.
At home, it begins with a reflection on “what do we observe?” “What do we measure? What counts? What are the factors I take into consideration? What senses/tools do I use to observe? What if I listened with other senses? ”.
Rachel Martin wishes her approach to ensure listening to the movement by analyses of discrete, indirect, small and intimate components.
Measuring tool / Staging approach in the future
Carrying on from the three plan (volume) theory developed by Rudolph Laban to analyse movement, she wishes to use the construction of a kinesphere: an icosahedron allowing the registration of a moving body, a structure which will be the three-dimensional reference axis and possibly the media for measurement sensors.
Research in its early days
A moving body is at the heart of the approach. It's an experimental corpus, potentially augmented by a set of sensors. ”
Several avenues can be considered depending on the technical possibilities and possible partnerships. Meetings with CEA scientists, notably on data acquisition and signal processing, real-time signal capture, 3D images, possibly a work with kinects, etc., are in progress.
Replication, transport and experimental aspects for the public
Rachel Martin would like the invented form to be replicable in different environments (therefore a transportable device) and in which the spectator is potentially invited to experiment with the device for a 360 experience that may prompt him or her to question what is held and to what we hold.
Preliminary working approach
A preliminary working phase will be a test to capture position, followed by work on sound transcription and finally to free oneself of the visual aspect already occupied by the spectator's gaze.