Imaginary Touch: Multi-Sensory Experiences for Non-Physical Connections Over Distance

In this blog post, I want to share my ongoing exploration of new working methods that aim to recreate sensations of touch and non-bodily connections, particularly in the context of remote or online experiences. As part of my practice-as-research project, which began during the Covid-19 pandemic and continues to evolve, I have developed two audio recordings that offer online multi-sensory experiences.

The significance of physical touch in interpersonal relationships and emotional well-being has gained recognition in recent years (Heatley et al., 2020). However, events like the #metoo era and the COVID-19 pandemic have limited opportunities for physical touch and non-bodily connections, creating a need for innovative methods to recreate touch experiences across distances or online (Sigurdardottir & Halldorsdottir, 2021). The shift to remote and online practices has presented challenges for fields that traditionally rely on physical touch, such as dance. The inability to engage in direct physical contact has prompted us to explore how we can recreate the intimate and sensorial experiences that touch provides. Moreover, even outside the limitations imposed by a pandemic, there are individuals who cannot or choose not to engage in close physical contact due to various reasons like physical disabilities, sensory sensitivities, or personal boundaries. For these individuals, the ability to experience touch-like sensations remotely offers opportunities for inclusion and participation in activities that may otherwise be inaccessible to them.

To address these limitations, I have created a series of online multi-sensory experiences that aim to explore alternative ways of engaging with and experiencing touch in online spaces. Each experience approaches the concept of touch in a unique manner. It is essential to note that when referring to touch-like sensations, I adopt a comprehensive understanding that goes beyond the physical act. Drawing inspiration from philosopher Erin Manning (Manning, 2006, 2013), I view touch as a transformative and relational process rooted in the concept of prehension. I emphasize the interconnected nature of touch, recognizing that it extends beyond mere physical sensations.

This post introduces two audio files for personal exploration at home or in someone else’s home. The recordings prepare for improvisational tasks, cultivating presence in external and internal states. They invite a sensory journey, focusing on your sense of touch through various approaches. Use them to prepare for remote workshops, classes, or rehearsals.

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Digital HotSpot Video Collection

In 2020 UK based Organic Theatre started Digital HotSpot, a training and performance research incubator inviting a collective of practitioners and researchers to meet, work and explore the potential of online training and performance making through the Zoom platform.  

This collection of eight short videos has been edited from the extensive audio-visual documentation of the project, which is also part of an ongoing practice-as-research enquiry on the soft boundaries between performance, space and spectatorship on digital.

Each piece of footage links to and is embedded within the visual essay ‘Digital HotSpot: Virtual Agencies in Online Performer Training’ (Mastrominico, 2023). In this context both the video selection and montage exemplify aspects of performer training, which often led to organic shifts towards improvisation and devising performance material.

Bianca Mastrominico
is a performance maker and scholar. Since 2002 she has been co artistic director of the
performance laboratory Organic Theatre ( www.organictheatre.co.uk ). Bianca is Programme Leader for BA (Hons) Drama at Queen Margaret University, Edinburgh, where she is also co leading the Practice Research Cluster within the Centre for Communication, Cultural and Media Studies. She is active within the Magdalena Project network of women in contemporary theatre.

(Sequence of videos, in the same order as in the essay)

1. Zoomcraft – 2:45 mins

2. Moving in Relation – 3:22 mins

3. Triggering – 3:16 mins

4. Micro-choreography – 2:42 mins

5. Star Wars in a Cupboard – 2:08 mins

6. Living Solo – 3:24 mins

7. Changing Mood – 1:54 mins

TDPT Special Issue, Touch in Training, 14.2, Now Published

Theatre, Dance and Performance Training, Volume 14, Issue 2 (2023)

CONTENTS PAGE

Editorial
Ha Young Hwang, Tara McAllister-Viel, Liz Mills & Sara Reed

Article
Consent-based actor training as the only way forward
Andrea L. Moor

Article
Touch and consent: towards an ethics of care in intimate performance
Marié-Heleen Coetzee & Kaitlin Groves

Article
Maintaining the consent-bubble: an intimacy coordinator’s perspective on touch in performance training
Èmil Haarhoff & Kate Lush

Article
The Unclean, ‘touching and training’ in puppetry from Japanese otome bunraku
Caroline Astell-Burt

Article
Exploring Rudolf Laban’s flow effort: new parameters of touch
Juliet Chambers-Coe

Postcard
Theatre in museums: ‘touch it without a touch’
Lu Wang

Article
Touch as a feedback loop: exercising the leap from inertia to activation
Kristina Johnstone

Postcard — Oration
Our contact improvisation partners during lockdown for dancers in training
Malaika Sarco-Thomas

Essai
Archiving the healing touch
Nora Amin

Postcard
Touch in tableau: a powerful moment to break the wall
Lu Wang

Article
Tactile renegotiations in actor training: what the pandemic taught us about touch
Christina Kapadocha

Discussion — Essay
What a touchy subject! Discussions, reflections and thoughts about touch on the UEL BA (Hons) Dance: Urban Practice course
Carla Trim-Vamben & Jo Read

Article
Voice (as and in) touch
Electa Behrens

Essai
The Little Acorns – it was a touch and go experience
Saranya Devan

Essai
A repertoire of touch in participatory choreography
Elvira Crois

Article
In touch and between: a tactile toolkit for creative practitioners to navigate touch within their creative practice
Dina Robinson

Article
Affective topologies and virtual tactile experiences in theatre training
Adriana La Selva

Essay
Queer performance in times of the pandemic: movement, identity, and hope in heart2heart and The Ladder Project
Gayatri Aich

“Touch and Training” as a special issue for Theatre, Dance and Performance Training takes up the call to (re)consider performer training for a changing performance culture as a result of recent global happenings, specifically #MeToo, #blacklivesmatter and the Covid-19 pandemic. Out of these three quite defined moments in history, there has emerged an intertwined and complex understanding of touch in performer training studios and rehearsals. This leads creative artists to critically interrogate “traditional” understandings of touch as well as propose new, other ways of (re)negotiated touch during creative exchange. As an editorial team of four from different performer training institutions and freelance experiences in South Korea, South Africa and UK, we encouraged contributors to intentionally layer their impulses and responses, questions and practice as research and look across disciplines and cultural contexts. For this special issue, we have selected materials which can be read as singular contributions or read in relation to each other through our structured juxtapositions and groupings, and understood as a kind of meta-narrative on touch in training at this moment in time. Peer-reviewed articles, essais, postcards and an edited conversation, as well as embedded links to video clips, sit in conversation with each other.

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