Investigated Repetition as a choreographic structure.
Some choreographers use repetition to develop a motif or a phrase structure (A, A', etc.) within a work. This requires that a particular movement or gesture is repeated and then built upon. There is a sense of completeness garnered from the recognition of a movement that has been performed before. A sense of catharsis in the progression of that movement.
Other choreographers choose to repeat a certain gesture without a choreographed sense of development; however, despite the prescribed reluctance towards change, there is inevitably an evolution of repeated movement when performed by a human being. We are not machines. In the same vain as why Rauschenberg's Factum 1 and Factum 2 differ, repetition in performance is inherently not exactly the same. The body inserts itself.
This fact produces two results:
1. the eye habituates to the repeated movement, a sense of security is developed
2. differences and development are made more apparent in contrast to the sameness; interest is renewed
I aim to find the place where the body must insert itself.
Pain, fatigue, and stamina all play a role.
I want to explore the inanity that results from an action that is repeated incessantly.
What happens when a movement, that we know serves no purpose other than destruction, continues to repeat itself?
When must we stop?