– how does movement, emotions and the senses effect the
movement possibilities in different motives?
Written by
Jannine Rivel

Stockholm Academy of Dramatic Arts
Degree of Master of Fine Arts,
15 hp
MOVIT- directing and dramaturgy for
movement based Performing Arts
Independent dergee project, HT 2017
Supervisor: Bodil Persson, Senior Lecturer in
Dramaturgy – Movement based Performing
Arts
Examinator: Maria Johansson, Proffessor in
Acting

° Abstract
A poetic essay about the beginning of a process to generate material and to notice
how structures around us, and within us, can change. Through my early dance
educations we spent little time analysing which senses we were using or moving with.
When I started to make my own work I realized that depending on where I choose to
begin, influences and shapes the whole piece.
How can working with one sense change the outcome of the material, choreography,
dance or play? Is it possible to use an emotion to (re)do and (re)write past and present
in the process of making performing art? Can this tilt the structures surrounding us?
I have tested different combinations and sequences that have emerged through Senses
in choreography labs, one seminar and the exposition of re-hers. I have also created
new material resting on the experience of the previous and in direct relation to one or
more senses.
Do I begin from movement, emotion or a specific sense, in relation to the function of
the body and its movement possibilities in different motives? Within different
process-based methods my practice, theory and writing is intertwined in its structure
and work. I have acquired an increased awareness around how my senses can work.
They are more visible in my dancing and I hope it will deepen and challenge my
process. I also hope that it will open up for new possibilities around how dance can be
received, and how it can move. Its shapes and forms.
Keywords
Dance, movement, process, senses, directions, feelings, emotions, choreography,

° Introduction
My essay has the form and shape from the exposition re-hers that took place at StDH
the 14:th of November 2017. The form is based on how the time moves over a day,
from early morning till night. It also has the structure that came to be during my
process-based research here at StDH from January 2016- January 2018. The structure
contains six parts that moves in a circle. The parts are: testing, reflecting/doing,
resting, reflecting, thinking, reflecting again, and so it continues or starts again. Both
the form and the shape show different approaches to research within a process. My
process is based on having the possibilities for many beginnings and ends. You will
find footnotes to words and terms that I use and their specific meaning in my work.
How can working with one sense change the outcome of the material,
choreography, dance or play? Is it possible to use an emotion to (re)do and (re)write
past and present in the process of making performing art? Can this tilt the structures
surrounding us? Do I begin from movement, emotion or a specific sense, in relation to
the function of the body and its movement possibilities in different motives? Within
process-based methods my practice, theory and writing is intertwined in its structure
and work. I have tested combinations and sequences that have emerged thorough
Senses in choreography labs, one seminar and the exposition of re-hers. Mira Mutka
was invited to take part of the process and its work from the first Senses in
Choreography lab until the exposition of re-hers. We have been working together in
different constellation since 2002.
I build layers of structures that connect in different parts and I let my intuition
guide my choices and there by changes the structures as they are being re-built again.
I will give examples of what happened, my choices, what came to be, and how the
process continues. I will pose more questions than answers. I will fail and I will try
again. I will be personal and professional and I now invite you into my artistic
landscape.

You can read the whole essay here:
Intertwined figures-JHRivel

Photos: Bengt Söderman