Adapting scores to become part of the filmic narrative.
With this not only am I interested in breaking the fourth wall to disrupt the total unobserved relaxation of remote spectatorship, I am also interested in the function of direct instruction how this might mirror real-life experience, subconscious choreography of directions such as etiquette for example. When presenting work previously in a gallery environment, I have noticed among spectators a mirroring of the movements happening in the film, I think this urge will still be there even with instructions, but I think self-consciousness will increase. I find this self-consciousness, in my participants, myself, and perhaps the audience now to be important, I think it amplifies human experience, encouraging present embodiment, in the same way that meditation, breathwork and grounding techniques purport to.
I wonder if the urge will feel the same as the emotional urge I sometimes feel to lie on the cold wooden floor, or the urge to yawn when someone else yawns.
Could choreography be contagious like laughter?
could it be another action with unknown intent? Can we consider this kinaesthetic empathy despite the absence of uniform emotion?
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