Imagine a selection of drawings, scores, instructions or sketches created by choreographers during the process of making dances, e. g. Trisha Brown, Yvonne Rainer, Dominique Bagouet, Remy Charlip, Mary Wigman, William Forsythe and Elisabeth Streb.
How might we conceive of these as representations of choreographic thinking or as carriers of moving ideas? How would one describe a moving idea to someone who is not a dancer or choreographer? These questions compel us to ask: then what is a moving idea? How is it generated, where is it stored and how is it accessed? If this moving idea is at least partly produced through thinking choreographically, what is the relationship between movement, dance and thought? Within what contexts might we consider dancing to be thinking?
As a means of furthering this investigation I invite you, the reader, to perform the following three variations:
Variation One: Perform a movement by tracing the outline of a curve, using your fingers or hand (one finger thin or two thicker, etc.) starting at some point in the space in front of your sternum and ending at some point in the space above and behind your head.
Variation Two: Then imagine doing this movement, ...