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~ a growing collection of scores, ontologies on circling, circles and other geometries...

Teatro Oficia BR 79

Sasha Waltz & Guests: Körper, Zellerbach Hall Berkeley, California. _{(source: synchchaos.com)}

Pina Bausch, Cravos 1983.

Pina Bausch, Cravos 1983: Que tem a forma de círculo. Circular. Correr de boca em boca. Difundir-se, divulgar-se, espalhar-se. _{(source: Wikimedia)}

Boal, Theater of the Oppressed Paris, 1975

Boal, Theater of the Oppressed Paris, 1975. _{(source: augustoboal-oppression.weebly.com)}

John G. Harries, Conical movement, 1950s

John G. Harries, Conical movement, 1950s. _{(source: noaeshkol.org)}

Jean-Michel Basquiat: Now's The Time, 1985

Jean-Michel Basquiat: Now's The Time, 1985 _{(source: wikiart.org)}

Poema visual de Carmen Beuchat

Poema visual de Carmen Beuchat _{(source: carmenbeuchat.org/archivo)}

Merce Cunningham: Summerspace, 1958 Notation 1950s

Merce Cunningham: Summerspace, 1958. The drawing contains the idea for the whole piece: six dancers, six entrances, each dancer will make all 21 possilbe crossings of the space using 21 different kinds of movement phrasing. The order of events was derived from chance operations. _{(source: sarma.be)}

Laban movement analysis (LMA) effort graph

Laban movement analysis (LMA) effort graph with effort elements labeled. _{(source: wikimedia)}

Toru Takemitsu: Study for Vibration, 1962

Toru Takemitsu: ‘Study for Vibration’, 1962. “The performance may start at any point of the perimeter no matter clockwise or counterclockwise." _{(source: tumblr.com)}

Udo Kasements: Timepiece for a Solo Performer, 1964

Udo Kasements: Timepiece for a Solo Performer, 1964 _{(source: starve.org)}

Oskar Schlemmer: Gesture Dance Movement Diagram, 1926. Courtesy of Bauhaus School _{(source: widewalls.ch)}

Lygia Clark, The inside is the outside, 1963

Clark holding O dentro é o fora (The inside is the outside), 1963. _{(source: post.moma.org)}

Yvonne Rainer, score notebook.

Yvonne Rainer, score notebook, 1960-62: "I’ve made all kinds of scores, either lists of materials or rules about how they were to be used, and a few graphic scores." Rainer stripped away the gestural conventions of dance or theatre narrative in an attempt to formulate new kinds of 'social scripts'. _{(source: getty.edu)}

Louise Bourgeois: Untitled from the 'Insomnia Drawings' collection, 1995

Louise Bourgeois: Untitled from the 'Insomnia Drawings' collection (1995) _{(source: minervafestival.org)}

Channa Horwitz Sonakinatography I Movement #III for Multi-Media Sheet B 1st Variation 1969

Channa Horwitz Sonakinatography I Movement #III for Multi-Media, 1969 _{(source: eyeondesign.aiga.org)}

Pauline Oliveros: Rose Moon 1977

Pauline Oliveros: Rose Moon (1977) _{(source: minervafestival.org)}

Eshkol-Wachman Movement Notation (EWMN), 1969.

Eshkol-Wachman Movement Notation (EWMN), 1969: To document transitions between static positions the system takes into consideration the type of movement, amount of movement, spatial orientation and sense (clockwise or anti clockwise), of the movement. _{(source: noaeshkol.org)}

Eshkol-Wachman Movement Notation (EWMN), 1969.

David Maroto, Disillusion is an art project in the form of a strategic board game for two players. _{(source: davidmaroto.info/filter/performativity)}

György Ligeti’s Artikulation 1956

György Ligeti’s Artikulation (1956)_{(source: blogthehum.com)}

El giro notacional’. Josep María Mestres Quadreny, Aronada, 1971

Josep María Mestres Quadreny:‘El giro notacional’, Aronada, 1971. Colección Centro de Documentación MUSAC. _{(source: tamtampress.es)}

Anne Teresa De Keersmaeker In Real Time space patterns drawing.

Anne Teresa De Keersmaeker: In Real Time, 2005. These shapes were taped out on the studio floor and used to create complex space patterns. _{(source: sarma.be)}

Simone Forti, Zero, 1975.

Simone Forti, Zero, Performance documentation, Parco Theater, Tokyo, Japan, 1975. _{(source: Frieze)}

Lygia Clark, Breathe with me, 1966

Clark’s proposition Respire comigo (Breathe with me), 1966. Industrial rubber. _{(source: post.moma.org)}

Anne Teresa De Keersmaeker, 2013

Anne Teresa De Keersmaeker, 2013: "Time can be thought of as both linear and cyclical. That which we call ‘now’ is, in fact, a permanent tipping point; a balancing act between memory and anticipation, leaning back and forth between the ghost image of the past and a desire towards the future." _{(source: blogspot.com)}

Lucinda Childs, score for Melody Excerpt, 1977

Lucinda Childs, score for Melody Excerpt, 1977: graphic scores are the basis of Childs work, indicating floor patterns and sequence. _{(source: danceworkbook.pcah.us)}

Iannis Xenakis. Study for Terretektorh, 1965

Iannis Xenakis. Study for Terretektorh (distribution of musicians), 1965. Ink on vellum, 9 x 11 inches. Iannis Xenakis Archives, Bibliothèque nationale de France, Paris. _{(source: linesandmarks.com)}

Diagrama de Butterfly y Steal with Style de Carmen Beuchat 1975

Diagrama de Butterfly y Steal with Style, 1975 _{(source: carmenbeuchat.org/archivo)}

100 Anti-Theses magazine cover 1997

100 Anti-Theses, 1997. _{(source: Transmediale)}

Drawing for Circle Trisha Brown 1973

Drawing for Circle, Trisha Brown, 1973. _{(source: Walker)}

George Crumb. Star-Child, 1977.

George Crumb: Star-Child, 1977. 'Music of the Spheres' played by the strings, made up of chords built of perfect fifths. This melody 'moves throughout the work in a circular and therefore static manner..' Bruns, 2005. _{(source: Wikimedia)}

Willie Anku, 2000

Willie Anku, 2000: "Circles and Time: A Theory of Structural Organization of Rhythm in African Music". _{(source: mtosmt.org)}

Eshkol-Wachman Movement Notation 1950s

Avraham Wachman, The system of reference: Intermediate cardinal planes I: perpendicular horizontal planes, 1950s. _{(source: noaeshkol.org)}

Claudia Molitor: MELT 2018

Claudia Molitor: MELT (2018) _{(source: minervafestival.org)}

Chorostasi

The term chorostasi denotes "threshing floor", after the end of harvesting it was clean and used for dance celebrations. Chorostasi gave both the name choros (dance in Greek) and the circular arrangement of the movement in the dance. _{(source: Wikimedia)}

Spinning Jenny, 1764

Spinning Jenny, 1764 _{(source: Wikimedia)}

Score by Myriam Gourfink for dancer Jérôme Bel.

Myriam Gourfink for dancer Jérôme Bel: Glossolalie, 1999. Created in three phases: (1) research stage for the movement, together in the studio; (2) a period of atomizing the body postures and creating sequences with the help of a computer program, by Gourfink alone; (3) again together with Jérôme Bel who reembodied the score. _{(source: oralsite.be)}

Ink, Crayon, Felt Tip Marker, and Acrylic on Paper Choreography by Anna Halprin, 1981

Choreography by Anna Halprin, 1981 _{(source: annahalprindigitalarchive)}

Score for City Dance '78, Anna Halprin

Score for City Dance '78, Anna Halprin _{(source: annahalprindigitalarchive)}

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