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shows and stuff and things

On Saturday, a bunch of us from only weeds will rise in winter descended upon Churchill Downs’ opening night Fund for the Arts gala to perform excerpts from the show in pop-up form.

It went well (though I was a complete disaster on Sunday because I got dehydrated :P). We were a tad awkward at first, but as the night went on we got things nailed down and started tacking on a long-form improv after the set choreography. That just got better and better: the last round was awesome, even if almost no one was left to see it!

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We also demonstrated that modern dancers don’t have to be so hecking serious allataimz.

Anyway, I’m feeling more and more confident about weeds, even if I was a complete PITA[1] to our choreographer-director on Sunday (sorry, AMS!).

  1. I was having an exceptionally difficult time with receptive language processing, but didn’t realize it ’til after rehearsal was over, so I was constantly screwing things up and being mad at AMS about it. Ugh.

In other news, I’ve started working on choreography for my PlayThink piece, and I think it’s going to be quite cool indeed. A friend of mine might be joining me, which would be even cooler. There are parts of it I can’t do very effectively in my house (too many obstacles!!!), but the performance takes place at an outdoor venue that doesn’t have a fancy floor, so now that it’s warm I can practice it in my back yard.

I’m hoping to have settled a group of dancers for shadowlands or whatever I’m calling it soon, because SUDDENLY IT IS ABOUT TO BE MAY WTF.

I am so not good at recruiting people, and really really not good at recruiting people when I have no idea where I’m going to take them to rehearse. Blargh.

On the other hand, L and I have come up with some really solid choreography for the CL/UofL collabo show, so that’s going quite well.

We also just launched rehearsals for the SPA show, which is going to be amazing.

Obviously, my schedule is completely wack right now, and I’m trying to learn how to eat and sleep in the midst of it. What works best food-wise, of course, is simply to cook a couple of huge batches of whatever when I happen to have time. Sleep-wise, on the other hand … eek, who knows?

So that’s it for the moment. Class notes later probably?

“Adagio,” Revisited

A few years ago I wrestled with composing a solo piece about grief set to Barber’s “Adagio for Strings.”

At nearly 8 minutes, it’s quite long for a solo, and I don’t think I had the choreographic wherewithal to make it work back then. I’m still not sure I do. I set it on the back burner, figuring maybe I’d come return it sooner or later.

I’m not sure, at this point, that I ever will. Instead, I’m setting a piece for seven dancers about being alone and unseen amidst the bustle of humanity to the “Adagio.”

The title of the original piece was “Shadowlands”–a reference to the film about C.S. Lewis and Joy Davidman, which is itself an exploration of grief, but also in reference to Lewis’ phemonenal book, A Grief Observed.

I might retain the original title. The new piece as it has evolved comprises seven dancers: the Four Sisters, the Lovers, and the Outsider.

The Outsider is consigned to the shadows at the edge of human connection, and often shadows the others.

That said, I’m leery of using that title, as it’s too close to Pilobolus’ Shadowland, which I hadn’t even heard of at the time I created the original solo piece.

The first draft of this piece will be shown at the June 1st meeting of Louisville Movement Exchange, a nascent choreographers’ workshop and dance-community connector. I won’t have a heck of a lot of time to set and rehearse the piece, but it doesn’t need to be polished (or even finished).

I’m trying to do as much development as I can beforehand, though I will very likely have to modify things based on the set of dancers I’m working with. I think I’m much better at imagining choreography than I was a few years ago—not least in terms of envisioning how to use the stage.

Given the exceedingly-limited rehearsal time at hand, I’m debating whether to concentrate on setting the first half and taking things from there, or just dive straight into the second half.

The advantage of beginning with the first half, of course, is that if we miraculously bash through it, we might get to the second half anyway … and, to be honest, it’s the part I feel less sure about.

The advantage of beginning with the second half is that I have a really strong, clear vision of it, and I’m pretty sure it’s going to be quite good.

I suppose, ultimately, my dancers will determine how I approach the piece: the whole thing builds to a group overhead press-lift, and I plan to try to set that first, since it’s the thing that’s most likely to be uncomfortable for them. Most of them will never have done that sort of thing before. It’s not actually very hard (it’s literally six people doing the lifting, and they’re lifting one person), but it can be daunting.

I also kind of need to decide if I want to be in this piece if I have enough dancers that I don’t need to be. But I’ll cross that bridge when I come to it. I would, in fact, love to perform this piece, but setting a piece and learning it at the same time can be problematic, since it’s harder to adjust things on the fly when you can’t see what’s happening until you watch the video.

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I’m also back to slowly sorting out problems with Simon Crane.

I think I might set the “Bolero” for a later meeting of the Movement Exchange. I’m not 100% sure it’ll make the final version of the ballet, but I really, really want to set it, and it can stand on its own.

I’m also fiddling with the score still: I’m now fairly certain that the third act will be set to Rachmaninov’s 2nd Symphony (E minor).

I’m still not entirely sure what to do with the first act.

I would, however, like to finish this ballet before I die (not that I plan on doing that any time soon), so at some point I’m going to just force myself to make a decision about Act I. So I guess it’s back to listening to Romantic/Impressionist music and seeing what fits the story arc.

As regards Act III, I am deeply fond of Rachmaninov’s “Isle of the Dead,” but by itself it’s a bit on the short side, and it doesn’t afford quite enough range to really develop the story. I’d love to use it for something someday—maybe something that doesn’t even have an underlying story or concept—but trying to force-fit that with some other piece of music for the third act of Simon Crane isn’t going to work.

Saint-Saëns’ cello concerto will continue to anchor the second act; indeed, if I leave out the “Bolero,” it will be the entire second act.

So that—and the little piece I’m building for PlayThink, which is rather a lot of fun—does it for choreography projects for now.

More on the PlayThink piece later, of course.

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