Towards Vivencia trains the mindful awareness of the performers to transform all their actions into one:
Have you ever watched two performers on stage and wondered why you’re drawn to one more than the other? Difficult to explain but it is something that we all can relate to, right? This special something is known as presence, charisma, energy…. But why do some performers have more presence than others?
What is it?
Towards Vivencia is a practice, a training methodology aimed at locating and replicating the state of consciousness associated to peak performance
The innovation of this practice lays in the simplicity of the exercises. The participants will experience a state of mindfulness state in such an unsophisticated way, that it will be very easy for them to identify it and ultimately, incorporate it into their practice.
This programme has been created not to only be current, but also to lead the way at the forefront of the 21st century performing arts scene.
How is it/has been implemented?
By capturing the spontaneity, the immense concentration of being in the moment and competitiveness of sports through factors such as utilizing exhaustion (as tool), unforeseeable situations and chance, the performer is pushed into a unique performative state of mindful awareness and therefore pushed to exercise what is at the core of performing: his/her own state of mind.
Towards Vivencia is divided into nine different stages:
Examples of tasks used in this programme:
• (1.a) Skill building (physical training). Throwing and catching:
Towards Vivencia uses part of the training developed for my work ‘36’ which involves throwing, dodging and catching plastic bottles with 750ml of water inside – equivalent to throwing a hammer. In ‘36’, the bottles are thrown and caught approximately one thousand times over a period of 20 minutes, which means there is a bottle thrown every 1.2 seconds. On top of that the distance that the dancers cover during the piece is in average twelve kilometers, that is to say thirty times the length of an Olympic stadium. The creation of ‘36’ has led the way to a unique professional work practice that trains the performer holistically; using the same training methods we used to create the piece and specific games and strategies from the piece itself, the premise of throwing and catching bottles is taken to a whole new level. Click here see a short documentary
• (1.c) Demystification of the act of performing. Whirling dervish dance.
After training with Ziya Azazi back in 2005-6, I incorporated spinning into my regular training. Spinning provides the time to experience movement fully, and in perfect corporeal equilibrium: the simplicity of the gesture and the rhythms of the music generate an extremely pleasant flow. The difficulty of keeping ones balance and the exhaustion felt whilst spinning for thirty minutes to an hour, allow the spinner’s consciousness to remain grounded.
Towards Vivencia make use of spinning to help the performer to locate and therefore replicate peak experiences through physical actions.
• (2.c) Multitasking
Have you ever tried to watch the TV, while writing an email, while talking to someone else? Quite imposible, isn’t it?
Human beings do not have the capacity to multitask. Jumping from one assignment to the next is not multitasking, no matter how fast we can switch. However we have the incredible capacity to transform many tasks into only one. Typing is the perfect example. Typing is moving my fingers furiously and acurately across the keyboard; while making sense of my words; while looking alternatively between the keyboard and the screen; while checking for mistakes… but training made all this task become only one: typing.
Towards Vivencia trains the mindful awareness of the performers to transform all their actions into one: PERFORMING
Where has it been implemented?
Towards Vivencia provides a number of tools that will direct the performer towards discovering, tracing and finally training that ideal performative state of mind associated to peak performance.
This programme has been successfully delivered and continues to be in high demand in the UK, Norway, Greece, China, and Canada. I am currently working alongside the British Council in order to bring this project to the Middle East and South America.
“I’ve never been in a workshop before that’s been so… challenging… which has pushed me to that level” (John, professional dancer)
“After a year without much interest in my work as professional performer, these three days have awaken in me what make me love what I do again” (Amy , professional actress)
“The relationship between the dancers has changed a lot in these two day, now we are getting there” (Choreographer)
For more information please do not hesitate to contact:
Phone: 0044 798 352 97 44
Towards Vivencia has been devised with intellectual rigor from a creative dance-maker perspective. It has been developed throughout ten years of both, theoretical and studio-based research, putting in practice concepts such as Flow (Csikszentmihalyi), Mindful awareness (Varela) and Genetic Structuralism (d’Aquili).
I don’t think of them as “actors” but “doers”(those who do)
 Spanish word widely used to describe the way that unique dancers, particularly flamenco, perform. It could be translated as charm or mystic.
 Csikszentmihalyi, M., & Csikzszentmihalyi, I. S. (Eds.). (1988). Optimal Experience. Psychological Studies of Flow in Consciousness (1998 ed.). Cambridge University press.
 Varela, F., Thompson, E., & Rosch, E. (1993). The Embodied Mind. Massachusetts Institute of Technology.
 d´Aquili, E., & Rause, V. (2001). Why God won´t go Away: Brain Science and the Biology of Belief. Ballantine books.
Jorge Crecis © 2017