Linkki verkkojulkaisuun (pdf) - Teatterikorkeakoulu

experiencing. As a consequence, the subject of my artistic work shifted from
questioning the problems of the aging dancer to the dialogical relationship
between the dancer and the choreographer. I therefore decided to adopt a
holistic conception of the human being related to phenomenological philosophy
and, in particular, the postulations of Lauri Rauhala while attempting to get to
the heart of method-oriented and manipulative thinking in dance work, which
often treats individuals in an external and superficial manner.
The need for freedom in physical performance was enhanced by the dialogical
approach and, especially, the group work Eight Rivers (1997) [Kahdeksan jokea].
The creative process was important to the dancers in learning distinct
movement sequences, and they felt that working with imagery was a good means
of grasping the choreographer’s aims and enhancing the content, intention
and quality of the movement. Image-working was in my study understood as a
bridge between the choreographer and the dancer. As a choreographer, I
consider this to be highly relevant, especially when I am constructing a new
choreography designed to preserve its own identity while at the same time
illuminating and likening itself to the dancers.
In analysing Horse Songs (1998), The Three Little Goblins (1998) [Kolme pientä
peikkoa] and Silences (1999) [Hiljaisuuksia] created as part of this study I then
observed that dialogue exists between two agents: the dancer and the choreographer.
Even when the work situation is more open, their roles remain intact.
Some dancers want to influence the creation of the dance material and
choreography, others to put the choreographer’s ideas into practice. Dialogue
does not necessarily mean that a dance is jointly created. Through my work the
conception of the choreographic process and its relation to the moulding of the
dance became crystallized in the exchange of perceptions. Consequently, my view
of dialogue in the choreographic process is that I, as the choreographer, have the
ability to perceive the dancers’ stances while they are dancing. I am then able to
heed the dancers and help them to understand the logic of the choreography in
such a way that the experience of each agent – the dancer and the choreographer
– is heightened. The means in this case create the potential.
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