Category Archives: cirque

Danseur Immobile

First, a billion apologies. I set up a schedule and responded to it exactly how I typically respond to anything that’s more than I can handle: I missed a post, then balked at making the next one because I figured it would have to be really good, then just kept balking because I didn’t want to get myself back into something that was obviously kind of beyond me right now.

So, yeah.

There you go.

I write best when I can be alone, and right now I have almost no alone time and I seem to spend 100% of the alone time I have doing laundry and dishes and otherwise trying to catch up on housework, which directly conflicts with writing since it involves using my hands. I’m not someone who can dictate into a voice recorder: my brain doesn’t work like that. If it did, I would probably be much better at actually talking to people, but maybe not as good at writing, so who knows.

Part of what makes it so difficult to write with other people around is that they don’t seem to understand that writing for me, requires a kind of uninterrupted focus that is literally impossible when someone[1] insists on asking questions like, “What are you working on?”

Even if I don’t answer (which would be rude and would only invite even more questions), it takes my brain a long time[2] to merge back into the stream. Likewise, the knowledge that I’m almost certain to be interrupted in this way makes it hard to establish concentration in the first place.

Today, we got out of rehearsal early, which is great for writing purposes. I also don’t have a rehearsal for The Other Thing I’m Doing (LBS’ Spring Collection), so I might even get some extra alone time tonight while D is at Trapeze and Acro (despite my fondness for combining them, these are two separate classes ^-^) … though I might go with him and do Acro instead. We’ll see.

Anyway. Add to the list of things I’ve leaned about myself this year: I might never feel 100% certain of myself during the rehearsal process, but once the curtain goes up it’s like I don’t know what uncertain means (except for the bit where I’m always vaguely paranoid that I’ll space out and miss my entrance).

Add also: I can enjoy the heck out of being a performer in an interactive game … but I’ll need a solid three days to recover afterwards. I could get through a multi-day run of that kind of thing, I’m sure, but the longer the run, the longer the break I’d need at the end. This past weekend was exactly that: Friday night, my Cirque company played the international spy collective in a spy game. Saturday, Sunday, and (to a lesser extent) Monday, I played, “Maybe if I squeeze my eyes shut hard enough the rest of humanity will disappear.”

I had a sore throat and a vicious headache on Saturday, so I used that as an excuse to spend most of the day in bed, aided and abetted by the fact that Actual Ballet Company wasn’t called for rehearsal and that I’d been exposed to Strep. Honestly, sometimes it feels amazing to do nothing for an entire day.

I came into this week feeling brighter and better rested than I have since … I’m really not sure when. My body hasn’t been running at 100% (as reflected in my worse-than-usual Petit Allegro), so I think I’m probably fighting off a cold or something, but dancing has felt pretty good. Except for Petit Allegro, and my inexplicable inability to do a balloté during a combination when it was just fine a moment before.

Or … well, not entirely inexplicable. I suspect that the balloté failure happened because we were running into it, and I have literally never done balloté from a run before in my life.

To make balloté work, you have to really brush the leading leg out as if you were going to do grand jeté, then snap it in through passé so it meets up with the back leg just as the back leg is at maximum height.

I kept running myself over, much as I used to do when running into Bournonville jetés. The result was more of a mutant pas de chat than a balloté, which was doubly annoying because balloté is a jump that I can usually do quite well.

Anyway, a mutant pas de chat is what happens when you try to balloté without brushing the leading leg straight out and jumping before you snap it back in. Or maybe more like a pas de araigneé morte[3].

There was also something that was supposed to be assemblé en tournant but became some kind of rotating pas de chat[4], so maybe I was just having a Pas De Chats Only kind of day. Except my actual petit allegro pas de chats were … erm. Not Good.

So that’s ballet for you. You never stop making mistakes, you just make fancier mistakes. You never stop having bad days, so you have to remind yourself that the bad day you’re having today would’ve been a fantastic day two or three years ago and a decent day last year.

  1. Like my lovely husband … to whom, it occurs to me now, I should explain all this, since he has this weird (but kinda sweet) policy of mostly not reading my blog because he wants it to be my thing.
  2. I can’t actually be more specific than that. Sometimes it’s 15 minutes; sometimes it’s hours. It Just Depends.
  3. Step of the dead spider. You’re welcome.
  4. I understand what happened there, at any rate. My thinking brain got ahead of my body, and I was thinking about the plié that was supposed to land the darned thing, and apparently attempted to plié in mid-air … because THAT makes sense! ^-^’

Still Not Dead Yet

Just busy and thinking about where to go next with this blorg of mine. By which I mean not the annoying questions like, “How do monetize?” or whatevs but just, like … how best to write on the regular about where this amazing little journey is taking me.

We closed CL’s show “Gravity’s Variety” yesterday, and I think it represented a significant step forward artistically both for my Cirque company and our AD. I loved working on that show, but I’m also glad I’ll have a few two-day weekends (Sunday-Monday weekends, because Saturday is Full Cast Nutcracker Mayhem) before the madness that is Nutcracker: the performance run.

I’m still in the up and down of learning to be a company dancer. Some days I’m like, “I’m coming along” be others I’m like, “What do I even think I’m doing?” I think that’s probably normal, though, especially when you’ve made your entrée into company life by the “wing and a prayer” method.

I have a ways to go before I feel like my worst ballet days are stage-worthyish, which really has to be your standard when you are part of a company people pay good money to see. Fortunately, the roles I’m doing in the shows that cost money are light on the fancy technique as yet.

The Friday before last, Mr D said to me, “You have so much talent. You just need to hone it.” That was a powerful thing. It helps to be reminded, from time to time, that I’m not just experiencing delusions of grandeur, here.

Anyway, I’m here and I’m dancing and sometimes I’m even okay at it. Hope you’re out there killing it, whatever it is you do.

Yes, This

I’m working on a post about some of the stuff I learned in David Reuille’s masterclass, but for the moment, check out this post by Circus Out Of Joint:

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I’ve been lucky to have ballet, circus, and gymnastics instructors who understand the differences in the ways hypermobile people perceive the world and in how our bodies work (versus those of people with average mobility). They’ve done a great job helping me build habits of sound alignment, teaching me what to engage and disengage when, and guiding me towards beautiful ways of moving that won’t destroy my joints.

That doesn’t mean I’m as good at looking out for myself as I should be, though. Circus Out Of Joint discusses some of the ways those of us with hEDS can advocate for ourselves in class, along with some of the challenges that we face in doing so (like, when should we ask our six million questions?).

Showtime

We opened “Happy Birthday” tonight, and it was good 😀

First time I’ve done a front-handspring in front of a paying audience since I’m not even sure when (high school, probably?) … so that was pretty awesome. It’s a Vweird thing, because it’s basically a single front handspring with a leap out of the rebound, but the run-up is so long that it builds up a lot of power 😀

Anyway, I tried not to go Full VonRothbart this time, and I got to wear a pair of sparkly things on my face:

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Ooh! A thparkly!

…I’m pretty sure that our AD copes with nerves by more or less literally throwing fairy dust at them. Like, initially, a few of us were going to wear jewels on our faces, and then a few more, but tonight while we were dressing he was like, “JEWELS ON EVERYONE! WE MUST ALL HAVE JEWELS!”

No complaint here. I’m really quite delighted that I got to wear sparkly things on my face, and even more delighted that they somehow survived the one-two punch of humidity and sweat, not to mention the trapeze and everything else. Eyelash glue: it’s like hot glue for your face 😀

Speaking of trapeze, my trapeze piece went rather well … though there was one somewhat alarming moment in which my tights gripped the trapeze but slipped around my leg whilst I was doing a drop transition to a single knee hang … EEK. But I played it off like that was supposed to happen, as you do.

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Not that moment, but a beautiful shot from our dress run by photographer Maria Marchal ❤

I’m using my own trap for this show, which is cool. It’s a really, really nice trapeze from Patti at Aerial Animals. She’s a bit of a legend in my local circle of aerialists, especially amongst those of us who like our traps heavy. It’s basically an exact copy of the one my friend and trap teacher M uses.

In other news, I received an invitation to stage a piece as part of a benefit show for local refugee services, which was awesome. We’ll be doing a further iteration of the excerpt from “Tenebrae,” this time with both The Lovers and The Stranger.

I needed a name for my group, so I called it Antiphon Project[1]. So I seem to have kind of accidentally launched a wee dance company? Or at least the germ of one.

  1. The name of the group (which might, someday, be just Antiphon, or possibly something like Antiphon Dance Theater or Antiphon Contemporary Ballet) is the result of a brain glitch from a long-ago Pilobolus masterclass. They usually end up the classes with compositional improv sessions, and one of the groups made a gorgeous piece that had this beautiful antiphonal movement style … but I couldn’t think of the word “antiphon.” At least, not until I was, predictably, lying in bed that night 😀 And thus did I decide that if I ever launched a dance company, I’d name it Antiphon for several reasons, but partly so I’d NEVER FORGET THAT WORD EVER AGAIN.

BUT FIRST! I have to survive a whirlwind trip to Connecticut and back for Teacher Training with Pilobolus :O I’ll be leaving directly from Fabled Fragments rehearsal on Sunday, driving straight through with a stop somewhere for a nap for a few hours, chugging straight into class, crashing out as soon as class is over probably, doing the second day of class, possibly crashing at Mom’s overnight, then turning around and driving back home.

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Basically how I feel about that plan, but I can’t afford to fly, so… (Photo by Frans Van Heerden on Pexels.com)

Sleep Dep, Two Shows, and Drunken Excess

…Or, well. If you can call getting tipsy enough on two beers that you feel that driving is perhaps unwise “drunken excess.”

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The cast of “Only Weeds Will Rise In Winter.” Photo credit forthcoming, because I’m not sure which of the various photogs took this one! You guys, I am really not sorry to be done wearing that unitard.

Weeds went pretty well. I felt very solid about the first show, even with a series of last-minute notes. During the second show, the fact that I’d only slept for four hours (for reasons having nothing to do with the show) caught up with me, and I felt mentally somewhat glitchy, though evidently I did a solid job not telegraphing my glitches, including the one very near the end during which I rolled over and completely blanked out not only on what the next move was, but which part of the dance in question we were even on o___o’

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If you look this tired WITH stage makeup, congratulations, you’re really tired.

I was onstage for basically a solid hour and a half[1] for both shows, with only brief breaks, and didn’t really rehydrate adequately after the second show. End result, when we headed down to the nearby gastrobrewpub for a post-show libation, I downed my first beer too fast (I failed to realize that this is one of the places where you have to ask for water), and subsequently found myself remarkably woobly after only two beers. Oops.

  1. The show ran about 1 hour, 10 minutes, but I was the opening act. Basically, from the time the doors opened until the start of the show, I was sorting cans and building a can tower (see photo above).

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An accidental, but nonetheless appropriate, representation of my approximate degree of non-sobriety after last night’s celebratory beers.

Needless to say, I asked Denis to drive me home, which was interesting since we’d arrived in separate vehicles and I had to drunkenly transfer all the things so my car could sit on a corner downtown overnight without looking like too tempting a target (I mean … if a Subaru that’s old enough to be a rising sophomore at university is ever all that tempting a target?).

Anyway, I did my penance in class this morning. I’ve really, really missed my usual ballet routine, so it was good to be back in the studio.

For the most part I felt reasonably good about class today. I was somewhat less coordinated than usual … Like, we did an exercise that was nothing but chassée-chaîné-chaîné-chaîné-chassée-chaîné-chaîné-chaîné-chassée-chaîné-chaîné-chaîné-tombé-pas de bourrée-tendu, repeat left, repeat right, repeat left in which I could not for the life of me convince both legs to plié and chassée at the same time.

Likewise, my extensions were meh. Not bad, just passable by professional standards. Which, I guess, should tell me that I’ve made a heck of a lot of progress in the past couple of years, because honestly, “passable by professional standards” is still pretty good. But they lacked a certain je ne sais quois. My arabesque in particular was, erm, workmanlike, but nothing more … to be honest, I don’t think I would even have counted it as “passable” until we made it to centre.

On the other hand, there were some good moments in the petit/medium allegro (be still my heart) in which Killer B and I got into the spirit of things and executed these lovely bounding passes with assemblés battus. We jump well together … at least, we do when I’m not a shambling mess of legs, confusion, and despair.

The long and short of it is that I thought, overall, that I looked pretty good today. Some of this, of course, might have to do with the fact that I set the bar pretty low this morning (as opposed the barre—we were a small class in the big studio downtown, so we just used the one fixed to the wall). But I think even my standard for bad days has improved immensely over the past year: even when I’m a terrible dancer, I’m a much better terrible dancer than I used to be.

Likewise, I managed somehow to have a Good Body Image day. Or at least a Good Body Image morning … I mean, the day’s not over yet. My reflection looked like a strong, graceful, compact dancer, rather than a shetland pony with delusions of grandeur.

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It NOT me … this time. (Photo by Megan Clark on Pexels.com)

I’m not entirely sure how or why this happened, but I’ll take it.

Anyway, tonight CL is opening for Kentucky Shakespeare. I’ll be doing a ball solo (NOT THAT KIND OF BALL SOLO GET YOUR MINDS OUT OF THE GUTTER). Still haven’t decided what I’m wearing or which shoes I want (character shoes? ballet shoes? probably ballet shoes), but it should be fun, and will be a nice way to either close out this week or start next week, depending on how you look at it. I tend to regard Sunday as the first day of the week for scheduling purposes, but because I had a show last night and rehearsals all week, it just really feels like the end of a week that was about ten days long 😛

So that’s it for now. More soon, one hopes.

Some Days, You Like What You See

Yesterday, I crammed in two acceptable ballet classes and a fantastic acro workshop with a guy who’s here with Cirque du Soleil’s Corteo.

We expected partner acro, but it turned out to be basically floor exercise. As it turns out, a lot of my floor exercise repertoire is still very much intact. I got as far as back handsprings before I had to jet off to ballet. Aleks seemed pleasantly surprised (even impressed) with my technique and power, so I left his workshop floating on a cloud of happy.

I was, in fact, as happy as my cat in an empty bathtub. Also rather better at floor exercise.

Perhaps that’s why I spent today feeling pretty decent about myself. I’m occasionally floored by the capability of my body—simultaneously like, “Wow, cool!” and like, terribly grateful at my body will apparently do almost anything I ask of it.

Either way, during modern class I found myself staring into the mirror and kinda liking what I saw. I was wearing a racerback tank that makes me look as much like a gymnast as I do a dancer (and leaves acres of skin exposed to stick to the floor in modern class). For a few minutes what I saw was a broad-shouldered, graceful boy; strong and lean and vital; gleaming with a light sheen of healthy sweat. I saw an athlete; a rather magnificent animal, close-coupled and powerful. I saw, I suppose, what men sometimes see and admire in me. I was reminded of the time that I asked Denis what he saw in my calves, which he all but fetishizes though I have almost always disliked them, and he said one word: “Power.”

Last night, when I was feeling uncertain about doing round-off front handspring on our rather short mat, Aleks said to me, “You can do this. You have power.” It was exactly what I needed to hear: I gave the sequence more vertical punch and less horizontal travel, and there it was, just like when I was ten or thirteen or sixteen.

G-d alone knows what I’ll see when I’m staring down the barrel of the barre tomorrow morning. But it was refreshing to see what I saw tonight.

In related news, I evidently failed to inform my cirque company that I tumble, and they teased me (pleasantly) about that throughout the whole workshop. They were also impressed with how clean, graceful, and powerful my tumbling skills are. Needless to say I’ll likely be using those in upcoming cirque shows 😛

I continue to be terribly grateful that I can still do all this stuff.

Sometimes my body, like all bodies, is a giant jerk—but more often of late it seems like an old friend who’s just been waiting for me to drop by; one who has kept all my favorite games and can remember all the places I like to run and bike and walk. When I dust off a physical skill that I haven’t tried in years, it’s always with a sense of homecoming mingled with a sweet relief.

But looking at myself tonight was something else: the experience of having seen, bit by bit, a thing I somehow missed for many years, and then suddenly seeing it whole for just a moment.

Also, I’d rather forgotten how good it feels to launch yourself into a dead sprint, punch down into the center of the earth, and soar. (I mean, I that in ballet, too, but it’s in a different way.)

It’s good to have that back.

Thursday Night Notes

I got back to aerials today. Worked on rope for the first time since Intro class (so very, very long ago, that seems!) and realized, holy heck, I like rope. We did some trapeze, too, and I learned a new sequence that works for my bendy, snaky body.

After, we chatted about the personality of the apparatuses. Ultimately, we decided that rope is like that big, kinda rough punk kid who maybe doesn’t shower enough but will stop and help you change a tire in the rain, while silks are totally Mean Girls (pretty, but bitchy as hell and complicated, and they’ll drop you like a hot potato if you set a foot wrong). Trapeze, which we didn’t discuss, strikes me as a little aloof and superior. Probably a bit kinky, too. Dance trap is definitely kinky.

After, L and I set a new phrase for my incredibly complicated acro-ballet-ball piece.

Tonight in class, my body remembered how to ballet (though my right quad decided to involve itself in an relevé lent devant one, which was weird and annoying and promptly made it cramp right up the rectus femoris o_O). We were a little boisterous, but still BW gave us some challenging combinations and some good corrections. I did the petit allegro as if I was, like, actually decent at petit allegro. Go figure.

I have, at most, a few more classes with him. I’ll miss him rather more than I care to admit.

At the same time, I’m trying to look forward and plan the next phase of my training. I’ve had a stellar mentor in him, and while hope we’ll keep in touch a bit, it makes sense to build that kind of connection with someone local. I think Killer B might be a good fit. Did I say that already? Predictive Text seems to think so.

Oh. Lastly, I submitted my proposal for a piece for the next choreographers’ salon thingy. Now I need to round up my dancers and get to scheduling. I’ve decided to set the piece for seven dancers, and I think I have enough victims volunteers, but whether I can lay hands on all of them at once remains to be seen.

Choreographer-ing

Today I started setting my piece for CL’s upcoming collaboration with University of Louisville.

I tapped my friend L, who was my reader for Death Defying Acts and who I’ve had as a student in the Dance for Aerialists class that I co-taught for a while. I don’t remember exactly where the initial impulse came from, but it was a good one. She has time right now, and I think we work well together.

L doesn’t have a lot of dance training, but she’s an aerialist and she practices yoga, so she has the kind of “educated body” that dancers have.

I had two goals for today’s rehearsal: first, teach her how to Tall Ladies (the easy part!); second, set the first phrase of the dance. Both goals were achieved, and it turned out that L and I make really good collaborators. I put in, among other things, fish lift to fondu arabesque (ganked from BG’s piece :D); she added a sub-phrase developed from triangle pose that played really nicely with my instinctive “next thing.”

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This is a variation on triangle pose, I think? But it’s also a really beautiful guy on a really beautiful beach, so it’s possible that I got a little distracted while I was looking for a shot of triangle pose. (Via Pexels.)

Choreographing this dance is going to be an interesting challenge. Since the musicians will be working within an improvisational framework (you’re right, that kinda sounds like an oxymoron), I’m programming a series of phrases that can either be used in a set sequence or mixed and remixed in an ongoing improvisation.

I came into this rehearsal with only the most basic sketch of an idea: start with Tall Ladies, set L down facing the audience, rise, work through a series of smooth, circular movements in which we appear to be working together to manipulate the ball (in fact, she’s doing all the ball work at the beginning of this phrase).

The lift grew organically out of the initial ball path: that was a cool discovery. L’s triangle sequence also came about on its own. She was experimenting to see where her body wanted to go from the arabesque (the ball passes from her hand to mine as she transitions out of the arabesque), and I liked what came out.

This is the first time I’ve actually set a dance that’s explicitly a partnered piece, as opposed to one in which bits of partnering occur incidentally to the greater momentum of the piece. I think I’m going to enjoy this particular challenge.

Coincidentally, this is also the first time I’ve partnered a girl who is significantly smaller than I am. L is legitimately tiny, which is both awesome and complicated. It’s awesome because she weighs next to nothing and is super easy to balance (she’s also great at engaging through her body, which really helps). It’s complicated because, in trying to be a good partner, I’m finding that I have to adjust a lot.

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I need to drop my shoulder a little. OTOH, we make nice lines together!

That’s actually really good for me, as a guy who enjoys partnering and wants to do more of it. The first three rules of ballet partnering for guys might be, “Don’t Drop The Girl[A],” but the fourth rule is Pay Attention to What She Needs.

Does she feel like she can get her leg under her coming out of Fish? No? Maybe you need a deeper fondu, then, doofus.

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Such fondu. Many lunge. Wow.

Anyway, I think the resulting piece is going to be pretty cool. L and I work well together, and I think we also look good together. That doesn’t hurt, either.

 

~

A. Appendix 1: The First Three Rules of Partnering

  1. Don’t drop the girl.
  2. DON’T drop the girl!
  3. DON’T DROP THE GIRL!!!

 

Werk Werk Werk Werk

So here’s how we’re doing on the work front so far this year:

  • Culture of Poverty: I got B Cast, which is great. Last year, I don’t think I would’ve made the cut. I think I might’ve mentioned this already. We start rehearsals Sunday, basically as soon as I get back from BDSI’s SI audition.
  • Collabo show: my piece got a green light, and I’ve got a partner to work with, so that’s rolling forward. We start reheasals on Thursday.
  • Suspend company: I’ve got a company spot, and we’re on to callbacks for specific casting next.
  • PlayThink: this year, I’m both performing and teaching. I’m pretty excited about that, y’all! …Speaking of which:

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    Ohai! It me!

  • And, of course, I’ll continue with CirqueLouis.

It’ll be interesting to see how rehearsal schedules shake out for all of this stuff.

This weekend, I’ll be jetting over to Lexington for the Ballet Detroit Summer Intensive audition. I have no idea, honestly, if I’ll make the cut, but I can say that last year I wouldn’t have been brave enough to go. A friend of mine from LexBallet SI is also going, so that’s pretty exciting!

I’m trying to go into it with the mindset that, regardless of the outcome, I can learn a lot from the audition process, and in many ways it’ll be a lot like taking a masterclass (only presumably with a number pinned to your shirt :P).

The weird part is that it’s hard to imagine that my first successful audition was last year, and that before then I felt pretty unsure about auditioning for things in general.

One of the general goals I set down for this year was to reduce my impostor syndrome about working in dance. I think that part of that is going out and auditioning for things—taking risks; seeing how things work out—and another part is choosing atleast  some of my auditions strategically, based on my own strengths as a dancer and what kinds of dancers are needed in different markets.

Though I am making money as a dancer now, I’ve come to regard what I’m doing this year as a kind of apprenticeship. Not to say that my command of technique is finished—nobody’s ever done learning technique—but I’m learning the elements of artistry; how to approach roles; how to take direction and use it effectively (I try to be biddable, so to speak, but I don’t know if I always apply direction as well as I could).

I’m lucky to have good mentors in the midst of all this stuff. Señor BeastMode, in particular, has given me a lot to think about for our Showcase piece this year. I think last year he was kind of feeling us out; figuring out how much technique he could throw at us, given the compressed rehearsal schedule.

This year, he’s giving me very specific directions about approaching the role I’m playing in this piece—what kind of movement quality he’s looking for, how to use my eyes, etc. I’m learning how to ask questions to clarify points I don’t quite get in ways that get the answer I’m actually looking for (all too often, I’ll ask, “What was the thing at the end of that phrase?” in a way that sounds like, “What was the beginning of that phrase?”).

This is all stuff I can carry into the other jobs I’ll be doing this year—and into every job I land going forward. To some extent, these are also the points that determine what kinds of jobs you land as a dancer. Being able to ask a clarifying question intelligently at an audition isn’t a bad thing and, of course, reputation matters in a community as small as the dance community.

I’ll also, obviously, be spending this year learning to juggle the insane schedule that seems to be pretty much the hallmark of #dancerlife always and everywhere 😛 It may sound trivial (it may not: you guys know me pretty well by now :D), but part of me is like, “Holy crap, I’m going to have to figure out how to cook and eat food in here somewhere.”

So, basically, I’m doing the stuff you do as a company trainee, only I’m working for 2 different companies as a non-trainee ^-^

Anyway, I’m pretty excited about the coming year, busy though it’s likely to be.

 

Marching On (In February)

I … think? … I’m done with auditions for the rest of the month, at this point.

Yesterday’s was actually rather a soaring success, except for my usual habit of forgetting some bit of the modern combination and faking my way through that part so I could get to the next bit, then remembering it right after … but there are two thoughts that cheer me up.

First, nobody had the combo down cold. We all missed bits and pieces.

Second, that’s one of the skills they’re looking for at dance auditions. What happens when you fall off the script (because it happens even to top-tier dancers)? Do you freeze like a deer in the headlights, or do you roll on just as if you’re doing exactly what you’re supposed to? (Bonus points if you can fake your way through well enough to make it look like everyone else was wrong. I don’t think I accomplished that, yesterday, but I didn’t freeze, either.)

The dance improv bit was, of course, a blast, because I love improv.

The trapeze bit went pretty well despite the fact that apparently whatever demiurge manages music for trapeze auditions believes it’s great fun to mess with mine. I recovered from that and had to improvise a fair bit, but it turned out rather well. And, of course, I didn’t fall off the trapeze this time[1].

  1. Last year’s audition for “Orpheus” is still the one and only time I’ve fallen off a trapeze. It’s also my number-one go-to story to tell when, inevitably, groups of people start reminiscing about stupid moments in their lives. There’s something special about making what seemed, in the moment, a very logical decision to drop myself off a trapeze from ten feet in the air rather than risk breaking my arms. Dancers get it; circus people get it; athletes get it. That said, there are entire hosts of people who think I’m crazy, and they’re probably right—but I’d still do it again in a heartbeat.

Once again, at this audition, they’re not necessarily looking for a polished cirque-style act: they’re looking for expression, musicality, and the ability to command the audience’s attention (and also sound technical elements, obviously). The piece that I showed is one I’m slowly working on set to the Indigo Girls’ “Kid Fears,” and it’s intentionally struggly, so it probably didn’t really hurt anything that I was, in fact, wrestling with my own choreography (much of which I didn’t apparently remember).

The acting part was flat-out awesome, and reminded me how much I actually really like acting, my anxiety about struggling to memorize scripts notwithstanding. Maybe what I really like is cold reading. Who knows? Anyway. I really liked the part they handed me, and ran with it.

Today’s audition was also lovely. Almost nobody showed up, so it was really just three of us mostly doing some improv stuff. I already know that our AD likes the way I improvise, so that was just pure fun. I showed the bits of my piece that I could, given my lack of a partner, and described the idea as a whole. Both our AD and the guy from U of L whose group we’re collaborating with liked it, so it looks like it’s a green light there.

My next audition is a couple of weeks away, and I’m happy to have a bit of a breather. The stretch from the past couple of gigs through now has been pretty intense.

Not that I’m complaining. The other night I was kvetching about some company-related annoyance and suddenly though something like, “Oh, hey. I’m complaining about work because that’s what we do. If it wasn’t a pain in the *** sometimes, it wouldn’t be work.”

And that actually felt, in its own way, rather lovely: like, this is my work, and it’s work that I love. And I think I’m becoming rather good at it. Maybe not world-beatingly good or anything but, you know, serviceable. Which has, to be honest, always been the goal. As a ballet boy I’m smallish and muscly and I bounce like a rubber ball, which puts me squarely in the demi-character camp, and I’m fine with that. Not everyone always has to be the prince (and, honestly, there are a lot of ballets in which the prince never gets to do anything cool outside of the pas de deux). As a circus artist, I’m reliable, adaptable, and versatile: not a specialist, but a generalist, and the kind of generalist who can pinch-hit almost anywhere.

I feel like that’s a good thing to be. I’m not here for glory: I’m here because I love to move; because I can’t not move.

And if sometimes that means I’m stressed out and hounded from pillar to post … well, that’s part of it. That and Auditioning for Poverty are pretty much hallmarks life as a dancer, or indeed as any kind of performing artist, or indeed possibly as any kind of artist.

You do the Work because the Work is what moves you … sometimes more literally than other times.

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