Wow!! The audition was so great! I got chills just watching them perform. The movement came together so nicely, and the end was perfect. I think the dance even has more to it, meaning it's not finished, but it is complete for now. I love how Andrea is pulling the whole thing at the end, and Asako is just about to put her band around Andrea. Each time I see the end, it seems like there is more meaning and various levels of depth inside of it that can be interpreted and/or journeyed into. So many stories being told. Asako did a great job not smiling (she tends to smile when she is nervous). The dancers really rolled their backs from the middle back up through the top of their heads, which added to the struggle of the manipulation. The section when Lorenzo tries to take Aleca's band, and then she takes it back, is so intricate, and could be missed easily. For me, that is a profound detail. There are many intricate details, like when they all pick Lorenzo up, or the pulling and pushing of bodies through the band. This piece could also be used towards my thesis or find another performance space. It needs to be seen.....
Nov. 29, Saturday
We met at 4-6 p.m. instead of 7-9 p.m., which was nice. Everyone was refreshed, and dancing earlier in the day is much easier, and more energizing. I did a short barre for warm-up, then the ladies put on their point shoes. It was nice to work together in that space, just warming up and getting ready. Andrea was sick, so we did it without her. It was interesting to see the dance without her, it was more robotic and mechanical for Lorenzo, when he partners her. I kind of though the dynamic change was interesting to look at. After, the dancers spoke about how they cue off of her in certain parts, so that was difficult for them, but it didn't look like it while I was watching. Mitsuko was doing choreography in the background, and it was interesting to see her move, and my group move. She had headphones on, and was totally in her own world.
I worked on more transitional sections, Areal moving to Asako, Asako and Monica rolling over to the ending, and Monica using a high grand rond de jambe en lair sometimes. It seemed like everything that was developed fit perfectly. I also changed Lorenzo picking up Asako, with her right leg coming out and into a sousou on pointe, and then she drope the band, picks them up, and goes to her ending position.
The time went so fast, and I recorded this run just to see what it looked like without Andrea.
At the end of rehearsal, I told all the dancers how excited I was about the development and movement in the piece. How the silence and stillness adds, then the piano plinks, and Aleca rolls over, or a group starts moving. Or sometimes, the dancers are moving in the silence and it adds so much. I told them how dynamic it is that this aspect changes about the dance each time it is done. They all feel confident about the audition, and they are excited to perform this contemporary ballet piece.
Nov. 24, Monday
One week until auditions. I am very excited! I think this piece is so original and unique. I don't know if it will get in, but it looks fantastic. It is very different, but I like that aspect about it. It speaks out in it's originality. The dancers are so enveloped in the process. Warm up was 15 minutes, and then I had them work on specific transitional parts. In ballet this morning, I had an idea for Areal when she transitions from the four girls and goes out on her own, and then over to the ending. I had her add some pique arabesque's with a roll down to plie, and be more frantic in movement in between. It worked very well. The dancers wore the attire they would use for auditions. It looks great, with clean lines and really defines the movement. Lorenzo was really dizzy, even turning blue sometimes, so I had him stop spinning during the section with Andrea. He always says he is o.k., but we all noticed the color change. He hadn't eaten since lunch, which probably added to the issue. He always smiles, and is so friendly with everyone, which is very enjoyable to be around and work with.
Nov. 10, Monday
I warmed up the dancers from 8:30-8:45. Then I handed them all a piece of paper and asked some questions about manipulation in their live.
The first question I asked them to write about was:
"What does manipulation mean to you?
Either a definition, or what it means in your life?
The second question was: What does manipulation mean in your life right now? Is there manipulation going on in some aspect?
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The third question: "What body part can you manipulate, that isn't one
you would usually think about?"
Rehearsal was amazing after this written exercise. The dancers used their middle back up through their head so much more. I felt more internal usage, and energy coming out from the core, instead of through the bands. It looked like they were struggling more and more, instead of just dancing the parts. I especially noticed this in Monica, when she comes on stage with her beautiful arabesque, and rolls through her upper back to her head with each step.
Nov. 5 Wednesday
Reading the
article A Place of DAnce, and talking with my conversation partner, I
was inspired with ideas to pursue my creative process in this piece. I
decided to try writing next time. Having the dancers write the word
manipulation, articulate what that means to them and write an experience
they have had with it, and create a safe place for discussion. We could
even address general manipulations like money, grades, requirements, etc.
I think it will stimulate a connection between the movement and the
dancers. I realize this may bring up ‘trauma and drama’, however if I set
the intention out loud that whatever is brought up can be handled and shared,
with love and support, the boundaries will give safety and peace, and healing.
Another inspiring
moment was when I read about rehearsal, specifically pg. 98, and it
states, “Trust that movement has vibration, inherent meaning, and evocative
dimensions. Rather than add more, leave space to inhabit what’s
there.” This brought me back to my rehearsal Monday night and how I ran
out of material, and it made me think that the material is already there, and I
just need to use it more, space it out, pauses, lengthening sections, and then
the ending will come, and maybe the ending is that there is no ending. I
am very excited to try this and see what happens.
Maybe this whole
process is really for me……
Nov. 3, Monday
Rehearsal went from
8:30-10 pm. Warmed up on pointe from 8:30-8:45. The girls are
strong on pointe and square on their toes. We watched the video from two
weeks ago, as we skipped last week, for a reminder. Then I talked about
exploring more manipulation with the bands during the movement that is
set. I asked if they could see what I’m talking about. They said
yes. I’m trying to get the bands to make the movement happen instead of
the dancers making it happen. We went through the movement without music,
and I was able to add more gesturing with the middle and upper back and head
for the individual sections. Then I worked on duets and trios, and really
letting the bands pull and move the dancers. It is coming along.
Lorenzo really uses his back well, middle and upper through the head. I
also added more pauses and holds to differentiate sections moving and when
Lorenzo is being held up.
Then we went
through it again with music. The dancers were using the bands and their
backs and heads more, giving the image of manipulation.
I let the music
keep playing to visualize where the dance should go, the storyline, because it
doesn’t feel like it’s completed yet. I found some interesting ideas came
to mind and we tried them. It worked out well, with Aleca rolling across,
partnering Andrea and Lorenzo, and the three girls manipulating each other,
with Aleca going over to them. Then I looked and it was 10 pm.
Darn, time went so fast. I am very pleased with the progress. It is
longer than I originally thought it would be and still moving forward with a
good energy and space. I am very excited. The dancers are very
smart and willing.
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