Improvisation as an art form in itself, also known as instant composing or realtime composing, requires certain skills on the part of the artist. Spontaneity, invention, creativity, attention to temporal relationships, momentum (the here and now), openness to exchange with other performers, awareness for what happens during the performance are some of the skills needed by a performer during the creative process of real-time composition. The practice of a real-time performer (or improviser), be it a dancer, a musician or an actor, involves numerous exercises and techniques that promote the necessary dexterity.
What is the difference between improvisation and composition? Is instant composing an exclusive feature of performative art forms? Can a sculptor or a movie maker improvise? What changes in the spectator’s perception when she knows she attending an instant composition performance? Is there any improvisation beyond artistic practice?
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What is meant by instant composing? What is the difference between improvisation and composition? Is instant composing a particular feature of the performative art forms? Can a sculptor, a painter or a film-maker improvise? Improvisation can be regarded as an art form in itself but also as a composition tool. How does an aware spectator react to this knowledge? Does her/his perception of the art work change? Does improvisation exist outside art practice?
“Improvisation is the art of the present moment. The creation process and the implementation of the art work happen simultaneously, on stage, visible to everyone. The attention of the musicians focuses particularly on that present moment. The audience, as well as the artists, is directly involved in that process, since the tension for the unexpected and the unforeseen is for both the same.” (Corinna Eikmeier, (http://www.corinna-eikmeier.de/content/projektdokumentation/nachts/2_1_nachts.pdf
Every art form is bound to its own specific practice. The result and often the goal of that practice is the art product. The whole artistic process, though, becomes complete with the perception act of the spectator.
Dancers, actors, musicians as well as artists of all disciplines work with their own tools, have their own language and technique, relate to the concerned historical artistic past and focus, each one of them, on their specific field of perception.
However, dance, music and theatre share a common particularity: the act of beholding a work of art, the perception of the result of a creative process happens here only at the same time of the artwork execution. The art object exists here only through its time related, actual representation.
Where, if at all, does instant composing respectively improvisation finds place in non-performative forms of art? Can the nature of this procedure be found in everyday life?
Artists who took part in the event
Jill Crovisier, Dance, Luxembourg
Sayoko Onishi, Dance, Palermo Italy
Gianfranco Celestino, Dance, Luxembourg
Meltem Nil, Performance, Berlin Germany
Michel Feinen, Sculpture / Installation, Luxembourg
Neckel Scholtus, Photography, Luxembourg
Tomas Tello, Sound art, Luxembourg
Laurent Payfert, Double bass, France
Nicolas Billaux, Choir direction, Luxembourg
Simon Rose,Saxophone, Berlin Germany
Jeff Schinker, Author, Luxembourg
Raoul Henri, Film, Luxembourg
Nina Schaeffer, Light design, Luxembourg
Simon Rose, Berlin, Germany