PART 1

 

The research on the transformation of daily movement and vocalization within a fixed choreographic structure and vocal composition.

 

Ine is interested in the movement in its most spontaneous form and wants to understand which natural presence is present in each individual performer. Likewise, Ine wants to investigate how a created vocal composition can be performed as naturally as possible. In order to investigate this, Ine wants to give the performers a fixed structure within which they have to carry out the imposed composition and choreography without restricting the space for individuality and interpretation of the performer. That is why we speak of a choreographic structure and composition and not of a choreography or composition.
However, the framework of this research is not in the field of improvisation. Ine seeks absolute freedom within the boundaries of a directed performance. Within this context, this research into the 'natural act' must be understood.

To come to that form, Ine observes daily movement.

Daily actions are most automatically present in our brain because they are spontaneously and repeatedly spontaneously posed. Spontaneity and repetition are therefore two important core elements in the visual language of Ine's choreographies and vocalizations.
To get the daily action in its purity integrated with the performer during the rehearsals and the final performance, Ine goes in search of a form of disorientation by forcing the performer to multi-task in a domain that is partly unknown to him / her. This allows the performer to automate the actions he knows because he has to give his attention and energy to what is not automated. By distracting attention from the actual direction of the choreography and composition, Ine tries to get as far as possible from any form of theatricality. 

Once this raw form is uncovered, Ine transforms these actions by taking them out of their known context, maximizing them or just minimizing them and playing with the notion of time. This again resulting in a disorientation. 

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"In this research I want to start from the transformation of daily movement, enlarged, in repetition, minimized, ... because I suspect this is an interesting starting point for the vocalist. For me, movement is one of the tools I use to express, to visualize in idea. By transforming daily movement I want to create a complex and interesting material with a very precise relationship to the sound. "​

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Ine wants to apply this working method to dancers and vocalists. In this research phase, Ine observes how dancers deal with vocalization while performing movements on the one hand and how vocalists move while they perform vocal compositions on the other.

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"Once a voice composition is known, we will investigate how body and voice connect, how these two influence each other. The voice and the body can tell the same story where they connect to each other. But I am also interested in the dissociation of voice and movement. Where the voice maintains a certain rhythmic pattern while the body is, as it were, in a different atmosphere, in order to create interesting juxtapositions and to create images that have multiple layers. "

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Ine wants to conduct this research with several vocalists and performers at the same time to avoid having to return the result of disorientation to the performer and that the results are thus representative.

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Development of vocal compositions for multiple voices and notation

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Not only in her movement language is repetition a leidmotiv, just as in her compositions we find repetition or loops as a red thread. In her solo performance 'I Choke, You Choke, Let's All Choke Together' (2017), this was clearly coming forward for the first time.

For Ine, the loop is a symbol of the structures in which we capture ourselves, the daily life on which we feel secure on the one hand and at the same time want to escape and then to come to the conclusion that it is better to live in a regularity that again quickly gains power.

This seemingly infinite circular movement forms the basis of Ine's compositions for voice and sound. During this research phase, Ine wants to zoom in on the loop as a composition technique and apply it to multiple voices and, through experiment, develop a language that clearly bears her signature.

 

"I compose with lyrics, vocals and voice sounds. I am looking for my own sound language that is influenced by concrete sounds, pop music and rhythmical structures. "

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A second focus within this research is the development of a proper, readable notation system for Ine's compositions. Ine is not classically trained and does not want to be too thorough in that direction to not get stuck within a certain structure. To lay a solid technical foundation, Ine will follow composition lessons with composer Pierre Slinckx during this research phase and collaborate with artistic assistant Mathieu Calleja.

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The research into the composition of the voice will be conducted by Ine during a residency at C-Takt on the provincial domain Dommelhof (from 7 January 2019 to 20 January 2019) and at CC De Ploter in Ternat (from 06 May 2019 to 19 May 2019).

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Research into different ways of sound amplification

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During the residency at Kunstencentrum Vooruit, Ine wants to deal with a third research question in collaboration with her team, mezzo-soprano Fabienne Seveillac, tenor Andreas Halling, performers Áine Reynolds and Aloun Marchal, sound engineer Marc Doutrepont and creative assistent Mathieu Calleja. 
During this residency, Ine wants to research and experiment with her team how sound can be amplified and distributed in the most natural way possible.
From the start of this residency period, Ine wants to provide the dancers and vocalists with amplified voices during each experimental session. This method offers her a zero point from which she can depart to see how the amplification influences the composition, the use of voice and the choreography. With this immediate integration Ine hopes to link voice and sound in a logical, natural way.
This linking will enable Ine to look for the possibilities that polyphonic vocalizations offer to weave a multi-layered sound layer or to paint a landscape with sound that sometimes blurs the origin, the voices of the vocalists and performers.
Together with Marc Doutrepont, Ine will look for different ways of amplifying in order to create different textures and landscapes that can influence the composition.

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PART 2

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The second part of this 2019 research is the further development of vocal compositions and a research in the clear similarities between Ine's work and Japanese theatre. In her work, the fixed voice composition forms the foundation from which all the other elements arise. By combining voice, movement and space, the performer will be doing a high level of multitasking, creating a disorientation and fields of tension. These fields of tension are like spaces between the voice, movement and space. In Japanese philosophy this is called MA. These gaps make way for distortion and imperfect beauty, which in Japanese theatre is called WABI SABI. Ine is attracted by these interspaces, for the fragile and timelessness that becomes visible. She also investigates the spatial demarcation of a character, which can be found in Japanese traditional dance. She is looking for characters who are stuck in an imaginary form, suggesting that the characters are not all in the same space nor the same time frame.

Ine investigates the use of time and space and wants to create a world where time and space are not on a linear level, where the charachters on stage or not necessarily sharing the same space or time. The use of multitasking and the distortion of time and space are for Ine symbolic for the contemporary way of acting and communicating in Western society. People do not communicate only through spoken language but through internetcommunication where time and space are not shared on a common ground. The multitasker is constantly busy, communicates while sometimes not knowing who he is speaking to and in which frame the conversation is going on, this way sharing an artificial common space and time. Ine is wondering what effect this has on the functioning of a society and on a human level of communication and understanding. 

Currently Ine is researching on these thematics that will result in her upcoming creation asfaraswecantell. 

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The 2019/2020 Research Project has been realized with:

Performers: Fabienne Seveillac, Andreas Halling, Aloun Marchal, Áine Reynolds, Adrián Sánchez Núñez, Maja Jantar

Assistent transcription and musical accompaniment: Mathieu Calleja

Dramaturgy: Sara Jansen

Sound engineer: Marc Doutrepont

With the support of the Flemish Community

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