The BATS Stage is empty, but on the back wall and sidewalls hang nine massive paper banners with invitations to think about the physical everyday body. It makes you curious as audience member what to expect and at the same time it prompts you to think about words that would and could fill in that space; that feel true to me.  Questions like “My body is like …”, “ I love my body when …”, “The weirdest thing my body did was …”

This show is such a joyful collaboration between the lights (D Woods), the music (Matt Hutton on keyboard and Sebastian Morgan-Lynch on cello), the director and the movement improvisors.

Director Gabrielle Raz-Liebman (Naarm/Melbourne) explains that tonight is the premiere of this physical improv movement/dance show. The eight performers – Lyndon Hood, Amy Atkins, Kate Gallagher, Jeff Clark, Caitlin Penhey, Phill Spear, Emma Maguire and Ciaran Searle – have been cast after doing a 6-hour masterclass earlier in the week. What if instead of teaching movement for improvisors, we actually improvise our movements?  What influences how we move? What does my body tell me?

The musicians play improvised music (mood suggested by Gab) and we see our players moving and feeling connected with their bodies, while in turns making statements about their bodies that are true right here in the moment. It is a joy to see eight individual bodies of different shapes and sizes move differently, using the whole stage.

Some are inspired by the music, others are inspired by others dancing and moving around them, and others are aware of the audience watching them. Some glance at others, some close their eyes to become aware of their unique body,. following the impulses to be led by the music or the effect what one simple movement has on their body …

The contrast of loud and soft, gentle and jarred, fast and slow … Seeing eight people complement, contrast or copy movements is mesmerizing and very intense, almost overwhelming.

The individual players now speak out what is true for them right here in the moment: “My body feels tired …”,“My body needs fresh air …”, “I feel loose …”, “I feel I’m breaking down…” And in that last statement there is a beautiful musical collaboration where we hear jarred notes on the cello.

Players form organically into groups based on what movement feels right to them, and with the music leading them, four of them form a connected unit. “I crave fresh air …” And four players people stand in a square, deeply inhaling, using big body movements, stretching their arms back, bending back; four bodies moving at the same time … Very normal every-day movements, but heightened and done as a team to a rhythm and music, becomes a dance in itself.  

Sometimes the movement of raising and lowering an arm is done in unison and at other times it has this unique delayed action, one after the other copies the movement, but there is a gentle flow to it and it’s not always clear who is initiating the movement … It allows for a graceful, flowing exit.

The different combinations and group sizes influence what evolves … Does the performer want to copy movements in order to belong in a group? Is the performer moving because they want to fit in, or do they contrast the movement because this is not a movement they want to make?

In a group of four, the words “I believe in shadow puppets” are said and repeated then suddenly three speak in turns the words, “I don’t believe,” provoking sadness and a change of movement in the lonely one who still believes; that subtle rejecting of the others, excluding … It’s was not the words that show that discord but the movements …

The dynamic of two groups of four sees one group create audible suspension sounds by crumbling and cracking the banners, making sudden fast moves and running through the first group. You see the fast breathing, quick movements of eyes and heads while standing perfectly still, on high alert, in fight or flight mode.

Every move can have meaning; anything can be an inspiration, an invitation to move a specific way.

The expression of interest in each other through movement, that push away, that pull together, the tension of being accepted or rejected … Our everyday bodies send out signals and this show heightens the movements that were already there.  How does a solo performer join a group that is in sync with each other’s movements? Do they bring a new rhythm to an existing one? What emotions do their movements express and broadcast? Contrast? Copy? Complement? It’s mesmerizing to watch.

Movements convey emotions. Seeing a performer with tears in her eyes swaying to the music, the connection of movements of hands working in unison to lift a performer up while everyone goes, “I got you …” The teamwork, collaboration and trust in fellow performers who lift that one body and carry it… Goosebumps… That is my emotional highlight as an audience member.

It is almost impossible to believe these movements that turn into dances with meaning are not scripted or choreographed. Yes, there is the director, keeping an eye on the time and offering visual prompts to move the momentum forward by changing elements of the composition, whispering suggestions/ instructions to the musicians and the lighting technician. Lights and music influence the movement of the performers and vice versa. Everything is interconnected. These are not special dance moves, but everyday moves that are heightened, highlighted and given meaning.  

Bodyworks reminds me that movement and feeling in tune with your body is not only the domain of dancers and athletes; that everyone can improvise with their movements to unlock feelings and be more connected. 

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