Browsing by Author "Breslin, Jo"

Now showing 1 - 6 of 6
  • No Thumbnail Available
    ItemMetadata only
  • No Thumbnail Available
    ItemMetadata only
    Collaborative Choreography: An approach to making. (Conversations with New Art Club)
    (De Montfort University, 2009) Cowley, Jill; Breslin, Jo
  • No Thumbnail Available
    ItemMetadata only
    Coping in Collaborative Choreography
    (2009) Breslin, Jo; Cowley, Jill
  • No Thumbnail Available
    ItemMetadata only
    Creative Process and Pedagogy with Interactive Dance, Music and Image
    (Congress on Research in Dance, 2009) Francksen, Kerry; Battey, B.; Breslin, Jo
    This lecture-demonstration reflects on a research-informed teaching project in which teaching staff in dance and music technology collaborated on technical and pedagogic research and artistic creation in interactive dance. Our primary aim was to throw light on how interactive technologies might challenge and develop the ways in which students in dance and music technology engage in creative practice through the exploration of a set of technologies and conceptual approaches the research has revealed very particular compositional structures and methods. Experimental sketches were developed with a particular focus on emergent behavior and richly behaviored audio-visual feedback systems that were both controlled by and influenced the dancers. The demonstration presents our approaches and offers methodologies and strategies for the use of new technologies in dance pedagogy.
  • Thumbnail Image
    ItemOpen Access
    The Place of Time
    (Performance, The Gallery, VJP, DMU, 18.30, Thursday March 2, 2017, Duration 30min, 2017-03-02) Breslin, Jo; Foster, Christopher; Leach, Martin
    ‘The Place of Time’ uses choreography, writing, composition and improvisation to weave a performance around movement, sound and text. It reveals the interdependence of each source and their points of departure. Jo Breslin and Martin Leach (DMU), and Christopher Foster (University of Wolverhampton) play with the time and place in which things may happen. Between the deadpan, the wry, and the expressive ‘The Place of Time’ becomes a question about the performance of a reality that is not what it seems. The performance borrows its title and some of its themes from an essay by Peter Galinson.* Between 1902 and 1909 Einstein worked in the Bern patent office as a technical expert evaluating electromagnetic patents concerning the regulation of time in multiple locations. To assess these documents Einstein and his colleagues stood at wooden podiums on which they examined the papers. By 1905 Einstein had produced his own papers establishing the particle theory of light (for which he received the Nobel Prize) and his Special Theory of Relativity. This performance takes as its starting point Einsteinʼs working situation in the Bern office as he pondering the ontology of simultaneity standing at his podium. It uses the notion of relational pathways and the interconnectedness of time and space to play with simple movement in the context of a process-based musical composition and a text exploring Heideggerian ideas of being. * Peter Galinson (2000) Einsteinʼs Clocks: The Place of Time, Critical Inquiry, vol. 26, no. 2, (Winter 2000) pp.355–389
  • No Thumbnail Available
    ItemMetadata only
    Will you play? Implications of audience interventions in improvised dance performance
    (Intellect, 2015-10-01) Breslin, Jo; Cowley, Jill; Doughty, Sally
    This article addresses participation through audience interventions in the work of Quick Shifts Improvisation Collective. It reflects upon a range of approaches taken by Quick Shifts that invite audience members to participate in the development of their improvised dance performances. These modes of participation in Quick Shifts’ practice and types of audience interventions are also considered in light of how they satisfy a broader social objective of cultural inclusivity and social value that can be equal to the aesthetic interests of Quick Shifts’ artistic goals. Encouraging audience interventions has implications for the performers, the model of practice and the audience members themselves, and through examining six specific examples from Quick Shifts’ body of performance work, these implications are revealed and analysed. Erving Goffman’s Frame Analysis (1974) is used to explain and critique the design of the scores, and reveals issues of signalling the audience in the unconventional performance mode of improvised dance. The authors’ interrogation of the potential for the audience to be implicated as co-authors in the work begins to open up questions about what is effective and less effective in participation during improvised dance and to what extent do they, as participating performers, relinquish (or not) control of the work in response to such audience interventions.