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SESSIONS Method of Giving Quality to Improvisation - The Notation of "Love", a Work by Loïc Touzé and Latifa Laâbissi by Jean-Marc Piquemal, France Paper This session will present my experience as a notator with choreographers Loïc Touzé et Latifa Laâbissi, the questions that arose and the answers we found. The initial idea of Loïc Touzé was to be able to exchange with a notator during the creation, without having necessarily a score being produced at the end. I assisted Latifa and Loïc and we exchanged our viewpoints until the premiere of "Love" in the Fall of 2003 at the Théatre National de Bretagne, during the "Mettre en Scène" festival. Both choreographers have led a dance company for about 10 years. They are also renowned dancers (GRCOP, Carlson, Gallota, Diverrès, Monnier, Lacey, Appaix, Huynh, etc). Through the working period, the wish to produce a score emerged, with the objective of revealing the creative process, i.e. to identify the stages passed through before ending up in the written document, in order to give access to the different qualities developed. "Love" is based on a very precise staging and scenography, within a determined space, but with a series of improvised sections. I started by undertaking a global notation based on motif combined with some elements of Kinetography Laban, and a title for each part describing the imaginary point we started with. Two parts ended up being quite structured, so I did the full notation in Kinetography. Then I tried to provide the framework for each improvisation section, with a description in words and in Kinetography documenting the constant factors and the constraints that surfaced, in order to be able to retrace the specificity of the movement vocabulary used. However, this was not sufficient to show precisely what happens on stage, and we finally provided some examples. The different parts last from 30 seconds to around ten minutes, and I notated some excerpts which will allow restagers to read the movement as it was done during one of the performances. Those parts are meant to be used as a tool showing the atmosphere at that moment in time, but should not be reproduced identically as it will betray the idea that the dancer is during the performance the author of his/her own dance, which is one of the main characteristics of this work. I believe that this notation done in three layers mirrors rather well the steps of the creation, and that the goal of notating the process was respected. It can allow a restaging at three levels and with different degrees of interpretation. One can rely only on the general score by using the root elements, which are the point of departure of the piece. Another solution would be to include the parts written fully and the associated constraints to those freer moments in the work's composition. The solution that would be closest to the piece as it is performed today would be to use the examples, but without reproducing these identically. Through this means a well-documented score exists that also gives access to all the root elements of the work, keeping the creative spirit and the ever changing processes which give to this material its vitality. Jean-Marc Piquemal - Trained in ballet and contemporary dance, he danced classical and neoclassical repertory in several theatres. After two years at the Staatstheater in Mainz (Germany), he obtained his Dance Teacher diploma. Interested in baroque and contemporary dance he has been a member of " Fêtes Galantes " led by Béatrice Massin since 1997. He studied notation at Conservatoire de Paris graduating 2002. He has worked with Noelle Simonet and her repertory company Labkine since 1998, and is regularly invited to reconstruct repertory pieces.
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