There are moments in which the re-tracing of a performance becomes an accidental re-formatting of its composition – a way of exploring the different layers of a character or the different elements that contribute to a specific movement or gesture. This could be viewed as a type of choreography parallel, although not the same, to that which occurs during the development of a performance. A performer may repeat the same gesture to explore and internally embody how physical changes to this gesture can alter its meaning and facilitate its successful recreation. Through this process they can react to how the body relates and responds to the space in which it exists and can make decisions about what to include or omit in their performance.
The act of re-tracing this performance on the page provides a further means of embodying an understanding of how specific gestures and any associated meanings are created by the body. However, the points at which this tracing digresses – for example, the failed attempts to effectively recreate a movement – offer new pathways for further investigation, development or new arrangements between the body and the performance space.
Specific to both these processes is to acknowledge and understand the differences between one creation of a movement and its next iteration and to better understand why a slight change to one element might effect the entire composition of that part of a performance. Tracings offer a useful approach – a way to try out and explore new compositions using a range of different angles, directions and shapes and a way to both deconstruct and re-create the different layers of a performance.