10B. Pebbles in the Pond

• Let's stand in a circle equidistant from each other. Each of us holds an imaginary bucket filled with pebbles. We're standing around a pond.

• In sequence, each of us will take a pebble, drop it into the pond and say the word "plunk." We may make short spaces between each other, sometimes, long spaces, sometimes, no spaces. Listen to the "plunks" and spaces that come before you and design your "plunk" and space responsively. We'll go around the circle a few times. Remember, we're not playing with how we say "plunk" but only with when we say "plunk." We want to focus particularly on the space between each "plunk."

• Second phase: anybody can "plunk" at any time. Listen to the spaces in between.

• Third phase: Again, anybody can "plunk" at any time. However, now, we're noticing patterns as they arise and then following them. Suppose we hear this sequence: "plunk, plunk, plunk." If we repeat it again, "plunk,.... plunk, plunk" and even a third time or more, we establish a pattern. The pattern will suggest its own transformation, or shift.

Pebbles in the Pond is another convention. When we say, " Pebbles in the Pond" we mean that our timing will be irregular. We'll live in the space between the fill as well as the fill between the space.

Patterns

Pebbles in the Pond is a practice of experiencing context. We listen to what surrounds our action. As our tuning skills become more precise, we notice that relationships occasionally repeat, forming a pattern. A pattern is a repeating configuration of elements, in this case "plunks."

Sometimes, we may want to create a pattern, set up a repeatable sequence and stay with it for some time. In a sense, the pattern limits exploration. But, it provides a boundary for spontaneous ranging, too. It creates a context for the improvisational approach: "These are the lim­itations. Let's follow the moments within them." Jazz musicians might do this with a single melody. A painter, with only straight lines. A poet, with the same few words. In this training, we do it with elements of expression. And here we're doing it with a blip of voice. "Plunk."

The pattern, itself, will tell us how to move out of it, whether to shift abruptly to something else, or transform gradually to other sequencing. All we have to do is listen. We can't go wrong.

We hear silence. If we define sound as that which stimulates our auditory nerves by vibrations, then silence also contains sound. We can hear the vibrations and they becomes part of our rhythms. As we stand in the circle, we value the rich vibrations we hear with "plunk" and the quality of sound we hear with no "plunk" equally.

Ioc. Follow the Leader, Leader Emerging

• Begin by standing in neutral. Again, play Follow the Leader. I won't call out names. Whenever you want, become Leader by "shifting," doing some thing very different than what's going on. Different physicality, different psy­chology, different spirit. Your shift is a response to the situation you've interrupted.

Aidan leads, running to the wall, slamming against it, over and over again

Bob interrupts, falling down to the floor, singingjoyously

Linda takes the lead by crawling over to another person, whis­pering numbers incessantly

Guillermo leaps up and then squats, as a warrior

Francis draws her finger over her face and neck, making deep indents into her flesh

Uta spins around the room wailing James asks people if they've seen anyone go by John acts as though he wants to move but can't, as if he's paralyzed

Everyone "shifts," in response to the action they are in. They take the lead by providing the next step in the ongoing improvisation, the laying down of stones. The rest of the class follows, each individual's action timed as "pebbles in the pond."

Touch

On the third day of the training, students were asked not to touch each other. Emphasis was placed on autonomy and independence. Even when in relationship, students were requested to maintain physical, and, psychic separation.

Now, two weeks later, students are better prepared for physical con­tact. Their actions are guided by intention, and are physical expressions of internal experience. Every act carries meaning, and is a little window into their psyche. They know it.