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SOLEDAD MEDINA

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SOLEDAD MEDINA 1982 Chile

Theater, training in Image Theater School, Santiago Chile (2004)

Dance, P.E.T, University of the Americas. (2013)

 

My training has become uneven between the independent, the academic and its relation to study of the body and its modes of expression, expansion and reflection; A mixture of practices among them; the Bodyweather, Kalaripayattu and Contemporary Dance. I have been inspired by Lisa Nelson, Nancy Stark Smith, Karen Nelson, Carolina Silveira, Tamara Cubas, Lucia Russo, Marcela Levi, Rosa Muñoz, Maria Muñoz, Kristie Simpson, Hisako Horikawa, Christine Quoiraud, Scott Wells, Ray Chung, Martin Keogh, Benno Voorham, Thomas Hauert, Ramon Roig, David Zambrano, Daniel Lepkoff, Pep Ramis, Andres Corchero, ... ... ... and many others. I am interested in immersing myself in creative processes that touch / tackle improvisation, Composition, Contact Improvisation ... as an action device, space to explore intuition, naturalness, animality and the state of time in movement. Dialogue with intentions, decisions and the deployment of ideas (or like these can create choreographic proposals) ... I collaborate with national and international artists in research projects around to improvisation as a scenic practice. In Valparaíso, I co-direct the international SUDA meeting, physical approaches for the encounter of the living and the temporary improvisations sessions. http://cargocollective.com/suda_suda Organize Cycle E.T, Tangible Experiences, Contact Improvisation Laboratories in Santiago and Valparaíso.

 

TANGIBLE EXPERIENCES 

 

 Dynamics of weight, fall and suspension. From the idea of weight management, we will explore physics and physical phenomena, to enter the fall of inertia that we cannot avoid, being with its possibilities of variation, expansion and transgression. We will approach the transfer of weight as a provocateur movement and actions; resist / yield / push / reach, to observe diversity of tonalities and possibilities of relation with the ground, the environment and the others. We will cover the space and its curvature observing the organization and inclination of the body in its journey, we will work based on spirals; as continuity and flow of movement, the pelvis; as a container, base and support, the column; as great articulator and initiator of the movement, the hands as a tactile sensor, the look as extension of the invisible. A space to train the body in its delirious possibilities of meeting with others. Touch-Contact / Acceptance of weight / Hesitation-Inclination-Momentum / Fall deferred Return to earth to restart all verticality / Slide-roll-fall-roll-pigeon  /////////////////////////////// What is played when it is played? The idea of the perceptual to the touch / touch thinking that touch is the only meaning that it implies an immanent reciprocity: it can not be touched without being touched. Thinking about the larval state: It is never ready or finished: it is always in a state of construction, creation, and it builds another body. Multiple questions to address the actions in order to enable creative play, awaken the living state of composing with others opening the possibility to the idea of a common body

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