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Dolores Hulan ’REDEFINE’ (research)

maa 04/04/2011 > zat 30/04/2011

“In musical compositions as long as we hear merely single tones, we do not hear music. Hearing music depends on the recognition of the in-between of the tones, of their placing and of their spacing.
In writing, a knowledge of spelling has nothing to do with an understanding of poetry.
Equally, a factual identification of colors within a given painting has nothing to do with a sensitive seeing nor with an understanding of the color action within the painting.
Our concern is the interaction of color; that is, seeing what happens between colors. …”
(Josef Albers)

In my work I ideally have a vision – similar to what Josef Albers describes in the above citation - that what should speak to an audience is not the actual movement alone, but the presence of the body in relation to space (and possibly its costume), as well as the time it’s moving in. The outcome is a color, an intensity, a flavor, an image, a memory, a question, etc. that evolves through the viewer’s perception - it is those in-betweens, the silences, in conjunction with the actual movement that I’m interested in.
I thus seek to give value to that duality, the fact that the emptiness or void is as important as the movement, and that only together they become something new.

After a first period of research together with costume designer Eugénie Poste in Essen/Pact Zollverein, my research continues in Pianofabriek, focusing this time on developing specific movement qualities, using methods such as the 6-viewpoint-theory (Mary Overly/NY) as well as studying the motion of animals.
I want to then use this information and bring it in an abstract form into my own body language – attempting to bring it to another level, somehow. Not wishing to copy, but studying the timing, the quality, the shape and trying to bring it into my own physicality.

This study can be seen as one layer of the work, as one color. What I am consequently curious about is what happens if I incorporate these qualities into myself as a performer: even though the work is abstract and precise – does it evoke different states? Can it become a new story for me, yet again another one for an audience?