Editing Contact improvisation (section)

=== Interior techniques ===

Contact Improvisation involves technical aspects or "moves" that support the duets and create a recognizable style of movements: shoulder and hip lifts, head-to-head improvisation, table-top position (being on all fours, supporting the weight of the partner on the back), surfing (rolling on the floor, being "surfed by" the partner), and aikido rolls.<ref name=":3" />

But these are conceived of as the means to an end, which can be described as the dialogue of sensations of weight and touch between partners:<blockquote>The body in [contact improvisation] is accordingly not merely a physical body whose weight and momentum are subject to natural laws of gravity and motion, but a responsive, experiencing body. Here it must be emphasized that despite the use of the term “inward focus” in Novack’s account, the cultivation of kinaesthetic awareness cannot be equated with an “introspective” preoccupation with private sensations; rather, the accent lies on sensing-through the responsive body, combining both “internal awareness” and “responsiveness to another”.<ref>{{Cite journal |last=Behnke |first=Elizabeth A. |date=2003-01-01 |title=Contact Improvisation and the Lived World |url=https://philpapers.org/rec/BEHCIA |journal=Studia Phaenomenologica |volume=3 |issue=Special |pages=39–61 |doi=10.7761/SP.3.S1.39|url-access=subscription }}</ref></blockquote>Steve Paxton insisted on this aspect with the concept of "interior techniques" involving in the dance practice a training of perception,<ref>{{Cite web |last=Steve Paxton |date=2006 |title=Training perception |url=http://www.ahk.nl/fileadmin/download/theaterschool/talk/talk-training-perception.pdf}}</ref> resting on investigations based on the sciences of the senses (physiology, experimental and [[ecological psychology]], anatomy, and behaviour sciences).<ref>{{Cite journal |last=Turner |first=Robert |date=2010-08-25 |title=Steve Paxton's "Interior Techniques": Contact Improvisation and Political Power |journal=TDR/The Drama Review |volume=54 |issue=3 |pages=123–135 |doi=10.1162/DRAM_a_00007 |issn=1054-2043 |s2cid=57568114}}</ref>

Lisa Nelson, in that regard, occupied a special place in the effervescence of the development of contact improvisation. Taking distance from the dance, she watched a lot through the eye of the camera and pursued personal research on the collaboration between the senses, in particular on the organization of [[Proprioception|kinaesthesia]] in relation to the way in which vision works (a practice later known as the "Tuning Scores"). As Patricia Kuypers remarked, "her staggered gaze nourished the maturation of the [contact improvisation], developing analysis of the perceptual system and revealing specific questions about how improvisation works."<ref name=":1" />