Thursday, October 22, 2009

The virtuosity of brushing your hair

I've been thinking about virtuosity and how it relates to this piece. How can semi-pedestrian movement be virtuosic? Is it the transitions? It is the layers? Is it the improvisational nature of it?

There is something about the seamless transitions between casual movement to contact that seems virtuosic. How does one shift from a relaxed state of brushing hair out of one's face to a more frenetic state of jumping on someone's back, and then shift back to the original state?

What do you think about that? What does seamlessness mean to you?

1 comment:

  1. To me, part of the virtuosity here would be verisimilitude. Here's an analogy. When kids draw noses (like a nose on a face) they draw them like little triangles, right? Little cartoon noses.

    Later on, if you take a drawing class or just start drawing more seriously, you realize noses are not triangles at all! They're complex little 3D shapes, full of different shades. So you try to draw a nose as it really appears -- not just sketch out the "nose icon."

    So, same thing w/ everyday motions. There's the charades version of a motion -- exaggerated and cartoony -- and then there's the REAL version, w/ all the subtlety and nuance of real life. And I'd call a performance virtuoso if it captured this subtlety -- if it made you go, "ahhh, yes, that IS how people brush their hair! Right!"

    (This isn't to say that you can't be a virtuoso at cartoon noses or cartoon motion -- there's definitely a whole different approach that's all ABOUT stylization -- but I think in this context I'd be looking for something that really showed an eye for that real-world detail.)