5. Motif development

A motif refers to a small choreographic unit, such as a gesture, movement or phrase that links strongly to the stimuli. Variations of the motif can be repeated throughout the piece through choreographic devices such as inversion, rhythmical modifications, amplification, minimization, ornamentation, and deconstruction. Repeating variations of a motif in this way can be used to show progression or change either in character or in the world of the piece.  (Preston-Dunlop, 2014)


Detachment motif:

This motif stems from a duet created for the '2:09' section by Eabha and Olivia. The original solo was created to show separation and power struggle, with each dancer representing either the disordered mind or Charnley's own self. This structure allows the audience to see the disorder take hold effect and manipulate the rational mind. When developing this further, we plan to have short phrases of this duet repeated later in the piece to show the progression of the illness taking hold while Charnley deteriorates. This will be conveyed by the use of dynamics in the movement, with 'Charnley' gradually using weaker presenting movements and being physically manipulated by the 'disorder', eventually copying compulsions such as thought broadcasting, as referenced earlier in the piece. The 'Detatchment motif' ties back to the core of our stimulus, which is Charnley's mental deterioration during the creation of his portrait series. (Charnley, Bohannon, 2022)


(Doogan Jones, 2022)



Head Manipulation Motif:

First shown in the 'Visions of Giaeon' section, it was created as part of the fragmented chance choreography task we compleated earlier on in the project. This section is designed to introduce the themes of paranoia, overwhelm, and anxiety that escalates as the piece continues. This gesture reflects this as a phrase when the dancer is on the floor holding and physically manipulating their head with their hands to initiate movement. This can be interpreted as an attempt to gain control of intrusive thoughts and compulsions and, because of this, reflects our stimuli well in much the same manner as the 'Detachment motif'. (Ohwovoriole & Block, 2021) To develop this motif further, a dancer could use it to show a loss of control over intrusive thoughts, using levels to display this. For example, when executed as a quick sharp head grab while standing, this would indicate a brief moment of relapse.



Hug gesture: 

This motif is originally performed in the 'Visions of Gideon' section. We plan to use the motif to show the loneliness and isolation that can result from being mentally unwell. For example, it is first executed as a small shart gesture. Later in the piece, we plan to develop this motif to a more expansive grabbing movement to demonstrate desperation for connection and eventually being a movement that drags a dancer from standing to the floor as a result of being 'consumed by the illness.


Bibliography:


Charnley, J. and Bohannon, N., 2017. Bryan Charnley: Art and the Expression of Schizophrenia by James Charnley & Nick Bohannon. Asylum, [online] Available at: <https://asylummagazine.org/2017/09/bryan-charnley-art-and-the-expression-of-schizophrenia-by-james-charnley-nick-bohannon/> [Accessed 9 October 2022].

Éabha and Olivia: ‘Detatchment Motif.’ Available at: https://youtu.be/inMX_rPo6-c (Accessed: December 8, 2022).

Ohwovoriole, T. and Block, D.B. (2021) What Is Thought Broadcasting?, very well mind. Available at: https://www.verywellmind.com/what-is-thought-broadcasting-5101228 (Accessed: October 28, 2022).

Preston-Dunlop, V. (2014) Looking at dances: A choreological perspective on choreography. 4th edn. Hampshire: Noverre Press. 


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