Documents pour «improvisation»

Nawell Madani - C'est moi la plus Belge

De Thierry Teston


Dans son spectacle, qui a remporté le prix du « Meilleur One Man Show » aux Globes de Cristal, Nawell Madani se livre dans un portrait autobiographique à la fois drôle, émouvant, féministe et engagé. Se moquant ainsi des garçons, comme des filles et des clichés. Elle hypnotise le public et l’emmène aux premières loges de son parcours. Vannes, danse, musique et improvisation prennent corps dans ce show au charme fou et à l’énergie communicative.   La nouvelle bombe du rire ose tout !

Etage X

Francy Fabritz


Deux dames âgées se retrouvent coincées ensemble dans l’ascenseur d’un grand magasin, ce qui va les pousser à leurs limites et les obliger à improviser.

“Improvising together” Debate


“Improvising together” Debate

Improvising in Sign Language and Gestures



The Sign Language Theatre Laboratory is a practicebasedartistic research group that began operating in2014 as part of the Grammar of the Body (GRAMBY) Interdisciplinary Research Project led by University ofHaifa linguist Wendy Sandler and funded by the European Research Council. Most of the nine Lab actorsare deaf and hardofhearing,and all of them use Israeli Sign Language (ISL) on a daily basis. We use ISLcombined with expressive gestures and physical theatre in order to develop a form of visual theatre that isaimed at both deaf and hearing spectators. Improvisation is our principal method of operation. We play withthe mimetic component of ISL, highlighting facial expressions and body language, and experimenting withgestures that are normally performed and understood by hearing and deaf people alike. We are inspired bydeaf culture as well as by the work of 20th Century theatre experimentalists such as Meyerhold, Artaud,Grotowski and the Living Theatre. We also draw from the language of two forms of traditional Indian dancetheatre, Kutiyattam and Kathakali, which employ combinations of codified hand movements (mudras) andfacial expressions (rasas) to present the dramaticaction. When our group was introduced to these genres in a workshop, we discovered a surprising affinitybetween the signs of traditional Indian theatre and those used in ISL. From this potpourri we devise ourtheatrical materials. We improvise within certain movement routines and exercises, realizing that free groupimprovisation can only stem from clear, at times even rigid structures and rules. Also necessary, of course,are “comprehensive listening”, which deaf actors practice visually, the ability to lead and be led, and finally,the skill of contributing to a collective creation. These will be demonstrated in my presentation through ananalysis of a few short videos of our work.

There could be ten seconds where everyone is connected and you feel really joined by the same thread and it’s really magical

Caroline CANCE


Joint actions require an ability to understand and predict the actions of others far enough into the future to have time to plan and execute matching motor programs. Here I will review experiments in which we have tracked information flow from one brain to another to show that the motor system seems to play a key role in these functions. I will embed this experimental data in a Hebbian learning model, which posits that predictions are the result of synaptic plasticity during self­observation. Jointly this talk will aim to trigger thoughts on how we can study the involvement of the motor system in coordinating actions across individuals

Acting together without planning ahead?

Natalie SEBANZ


Experiments on joint action have given us insights into the mechanisms that allow people to coordinate theiractions with each other, be it making music, dancing, or cooking a dish together. One key finding is thatpeople engage in predictions about their interaction partner’s actions. For example, when someone is aboutto hand over a candle to us, we anticipate the start and the timing of her action. A further key finding is thatpeople systematically modulatetheir actions in ways that make it easier for their interaction partners to predict them. For example, if youdon’t know whether I am about to go left or right, I may veer further to the left to signal where I am going.While these mechanisms work well for joint actionswhere the goals and the tasks that need to be performed are specified in advance, less is known about therole they play in joint improvisation where predicting others’ actions can seem impossible or detrimental. Iwill discuss the benefits and limits of action prediction in joint improvisation.

Deconstructing “joint improvisation”

Steven Brown


What is “joint” and what is “improvisational” about joint improvisation? The “joint” aspect can be contrastedwith solo improvisation, such as that of a jazz pianist. Even when jazz pianists improvise in the context of anensemble, the arrangement of these improvisationsis often serial, rather than simultaneous: each instrumentalist improvises in turn while other members of theensemble play relatively fixed parts. This is in contrast to forms of improvisation in which two or moreperformers improvise simultaneously, either as separate entities (as occurs in contemporary dance) or as acollective unit (as in 2personimprov acting or contact improvisation). To understand all of these cases, weneed to think about the partnershiparrangement of the performers and their leader/follower dynamic. Next, to explore the “improvisational”aspect, we need to realize that improvisation is, first and foremost, a form of creativity, in particular the typethat occurs online during performance. This is in contrast to online types of creativity that occur away fromperformance – such as brainstormingsessions – as well as to longterm(offline) forms of group creativity, such as technology development or theproduction of an opera. As such, we need to examine established models of improvisation in order tounderstand how joint improvisation might occur. Influential models from the study of jazz include Pressing’smodel of recombining prelearnedstructures, and JohnsonLaird’smodel of rulebasedimprovisation. Finally, I will examine neural aspects of the “joint” and the “improvisational” by describing the results of thefirst twopersonfunctional MRI study of improvisation during partnered movement.

Carrying the Feeling



Carrying the Feeling explores autistic Lucy Blackman’s use of “carrying” as an expressive force in herwriting. Continuing to delve into what I have called autistic perception theforce of perception that doesn’tyet parse out the environment but attends to the emergent qualities of an environmentality in act inthispaper I explore how else we might think conceptssuch as volition, intentionality and agency. Of particular interest here is the concept of facilitation, and theimprovisatory nature of what I call a “facilitation of facilitation.” If carrying is a force that already composeswith language, perhaps there is a productive way to consider an environmentally propulsive concept ofagencement as operator in experience rather than the ubiquitous firstpersonaccount of agency?Challenging what I call “neurotypicality as first identity politics,” I propose to open up a discussion of whereelse a conversation of relation might begin.

"Beneficial JI" Debate


"Beneficial JI" Debate

“Beneficial JI” - Short talk 2.3: Rachel-Shlmoit Brezis - Testing the limits – and potential of joint improvisation: Motor skills, social skills and interpersonal synchronization in adults with autism spectrum disorders

Rachel Shlmoit-Brezis


Research on joint improvisation has shown that expert improvisers, as well as neurotypical individuals, canjointly create novel complex motion, synchronized to less than 180ms (Noy et al., 2011; Hart et al., 2014;Golland et al., 2015; FeiningerSchaalet al., in review). Presumably, this ability relies on these individuals’motor skills and social skills – yet little is known about the preconditions and correlates of successful jointimprovisation. Here, we employ the Mirror Game paradigm (Noy et al., 2011) with a population of adults withAutism Spectrum Disorder (ASD). ASD is defined by a deficit in social and communication skills and atendency for routinized behaviors yet recent research has been pointing to a possibly more primary difficultywith sensorymotorsynchronization in ASD (Gowen & Hamilton, 2013), which may in turn impedeindividuals’ ability to synchronize with others, leading to reduced social and communicative skills (Marsh etal. 2013; de Jaegher, 2013). 40 individuals with autism, and 40 agegenderandIQmatchedTypicallyDeveloping (TD) control participants played the Mirror Game against the same expert improviser. The studyaims to determine: (a) whether individuals with ASD have a reduced capacity for sensorymotorsynchronization compared to TD participants; and (b) whether the ability of both TD and ASD participants tosynchronize their motions with another player is related to basic motor skills (i.e., motor coordination,proprioception and imitation) on the one hand, and participants’ everyday social skills (conversationalrapport, empathy and autism symptom severity) on the other.

“Beneficial JI” - Short talk 2.2: Julien Laroche - Being together when time is improvised: interactive coordination in pedagogical improvisations

Pablo Larrain


Improvising music toghether involves coping in realtimewith unprecedented patterns of behavior of another. The goal is to achieve and share a meaningful coperformance,and this is done by interacting.Therefore, processes underlying improvisation cannot be fully grasped by musical analysis only. Behavioralpatterns and collective dynamics that underlie joint improvisation encourage the scientific study of thecoperformanceitself. This is important to understand how improvisers can coordinate their behavior together in a meaningful fashion. However, improvising is first and foremost a practice that requires learning,experience and expertise. Objective measurements aren’t sufficient : integrating the phenomenologicalpoint of view of the improviser is also necessary. For this reason, we work as a dyad of researchers: acognitive scientist, and a professor of pedagogy who makes use of improvisation to foster learning. We thentrack interactive processes underlying joint improvisation during their very learning by novices and with theguidance of an expert. In this talk, we describe our pedagogical method of interactive improvisation (theKaddouch pedagogy) and its underlying system of thought. We present our system of qualitative analyses ofmusical interactionsand frame our observations during lessons in a dynamical, enactive framework. Then, we show how wecapture interaction processes by quantitative and dynamical analysis. More specifically, we are currentlyinterested in the coordination of tempo fluctuations during performance. On the basis of our concepts,observations and results, we discuss the role of the process of interaction as a source of coordinationbetween improvisers’ behavior.

“Beneficial JI” - Short talk 2.1: Neta Spiro - Joint improvisation in music therapy: characterising interaction in individual sessions with children with autism spectrum disorders



Some types of music therapy, such as Nordoff Robbins, involve improvisation by the client and therapist andthe relationship between the participants’ music making is prioritised. Some children with a diagnosis ofautism who attend these kinds of music therapy sessions often have difficulties speaking and can bereferred for a range of reasons (including difficulties in communication). What does improvisation look like inthis context? Does it differ between sessions and if so how? Can charting what improvisation in the sessionslooks like help assess changes in the client and/or the relationship between the participants? Studies ofmusic therapy sessions often analyse short moments. This focus makes it difficult to understand the contextof results and assess what the moments are representative of. In this study of case examples we annotate accordingto an annotation protocol videosof complete music therapysessions of 4 clienttherapistpairs. Each pair has two videos: one early and one late in the series ofsessions. Characteristics annotated include: where players are facing, whether they are making sounds, andthe sounds’ pulse characteristics. A range of patterns for each of these parameters was identified fordifferent clienttherapistpairs. This exploration of the types of possible patterns and relationships in musictherapy sessions helps to characterise, at a general level, what happens in sessions; provide a context formoments that might be analysed in more detail; and identify what differs between players and their sharedcharacteristics both across pairs and between pairs of sessions.