Thursday, February 25, 2010

Notes on Choreography (a free write)

I couldn't quite articulate how I felt tonight. But I felt. I think only me could really understand what was happening, because I know in my mind the arc of the piece. I understand the possibilities that each dancer can contribute to the piece. How each of their bodies will tell something new. Something sure, yet uncertain.

I'm still on edge though. Not sure if there is enough rehearsal time. It's as much, if not more about the chemistry of the group - the Commitment of the group - to each other, to the work. It ONLY works if they are all there. ALL THERE.

I can't wait until they know all the steps. I look forward to seeing it from beginning to end, in front of me. Then I can't wait to change it. Edit. Edit. Edit. Time limits mean edit.

But it will work. I feel something everytime I watch bits and pieces. I want the viewer to feel something. Perhaps a dancer will jump in their lap? [Tiny stage.]

It is volatile. It is controlled. Stark juxtaposition. Solos will add layers: not so much control meets violence; so much control meets calm. No. The other way around: not so much control meets calm; so much control meets violence.

What did Amy say?
Entangling, swimming, coursing, blocking, needing touch, attempting escape.

These are some of the actions that come to my mind when I watch this trio. And I remember the other piece (the quintet in Iowa) feeling more like gravity/some outside force was creating the dynamics in the group. That they were being pulled/pushed/rearranged but not of their own accord. I think this could make for an interesting contrast within the two sections. Choice vs. being kind of puppeted through actions? What is it exactly that makes me look at the two sections this way? How did you convey those different tones? I'm not sure. Maybe you can investigate that a bit?
I am investigating. Well soon anyway.


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