Double Skin/Double Mind

Double Skin/Double Mind Workshop. Photo: Chris Ziegler

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“Double Skin/Double Mind (DS/DM) itself originated as a research project w loan preapproval hen Greco and Scholten were invited to give a workshop during the Internationale Tanzwochen Wien in 1998. This challenged them to ask questions such as: “What is a workshop for us? How to relate it to our work? How to transmit the process of creating a performance, which is not a performance?” They decided to base the workshop structure on the creative processes of Bianco (1996) and Rosso (1997). Scholten describes this as follows: “We used the way Emio creates. How he makes his body available to the creative process was translated into the workshop.” But DS/DM is more than just an education or training for dancers, as Greco says, “it is derived from material that has been created for and experienced on stage making it also an artistic work. And this is somehow transported from the stage into the studio to offer some tools and directions”.

Since then, Greco and Scholten have presented DS/DM several times – in the context of Internationale Tanzwochen and elsewhere – but until the Notation Research cheap personal loan uk Project they hadn’t found the time to look at the basic structure of the workshop and to ask the question: “What is it now exactly?” On the one hand, this may not have mattered so much because they were always making performances, and as long as Greco found the preparation process (from which DS/DM was derived) generative there was, perhaps, no need to revise. This, according to Scholten, meant “DS/DM, the workshop, always stayed DS/DM. It was always the same structure and the same way of working. Different because we were dealing with different people and different qualities, but the basic structure, what we did in Vienna in 1998, we were still doing”.

Double Skin/Double Mind lilly cialis Workshop. Photo: Thomas Lenden

This is not to say that they hadn’t begun to question it. For Greco, “already five or six years ago I was thinking not to go into the same creation process, the one that is contained in DS/DM. But then I always seem to go back to that. For example, for HELL (2006) I thought: okay I will do another process. But then it seemed not yet”. And for Scholten, “the moment we came together saying: ‘Let’s take this as a test-case, to do research for the notation project…’ was the point at which I was beginning to be fed-up with the structure of the workshop as it seemed we were repeating ourselves”. In both cases, they were “starting to feel the need to understand the logic of the workshop and its structure better” when the opportunity to do so came along with the idea of making the DS/DM documentary – a process that forced them to rigorously examine the workshop.”

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