Flux involved three dancers: Guy Adams, Ayesha Mill, and Becky Yates and 4 computer models: graveyard, maze, temple and geometric shapes (a landscape with shapes embedded). Flux investigated the use of hypertext in our work by treating individual performative components as independent elements which could be freely juxtaposed with each other in a performance laboratory.
The devising process
Each dancer was guided into creating a dance phrase or physical choreography (Pc), called their home phrase and specific for a particular computer model. Some dancers were asked to learn others’ home phrases. Each home phrase had a set movement order but was not set temporally, i.e. the dancer was free to change dynamic. Curson would then work with each dancer in turn in the performance laboratory to devise a virtual choreography (Vc) that complemented their home movement phrase Pc. In addition all dancers were taught a phrase devised by Stuart called 'the Graveyard phrase'.
The the total set of performative elements were:
These components could be 'shuffled' and presented in a wide variety of permutations to create a new experience for the viewer with each performance (similar to a reader's unique route through a hypertext).
The Flux score and its creation
During the research a score emerged that was performed for the final showing. Flux’s score consisted of seven sections. If during the score dancers completed a movement phrase before the next section had commenced they were instructed to start again at the beginning. The decision when to progress to the next section of the score was left ambiguous to be resolved between the dancers and the cyber-dancer during performance.
Flux Section Description by section number
By using cinematic techniques of cutting the digital scenography Stuart attempted in Flux to draw the viewer into alternately identifying with different dancer's worlds, even when more than one dancer was onstage. Each dancer had their own associated computer model and virtual choreography and Stuart hoped that by switching between the scenography of different dancers, the viewer would simultaneously change their perspective and identify with the relevant dancer. Stuart was not satisfied that she achieved this, but the potential is there.