These are thoughts, questions, frameworks, revelations from our first week of residency with Deborah Hay in Bellingham. (Peggy Piacenza, Gaelen Hanson, Amelia Reeber)
What is choreography?
How can we further that question?
TOOLS TO NOTICE WHAT IS HAPPENING AT ANY GIVEN MOMENT ON STAGE
What if every cell in the body has the ability to perceive the uniqueness and originality of all that there is?
Noticing the feedback of the whole body at once as the teacher.
Surrender the pattern of facing a single direction. The body has no front it just behaves as though it has one.
Reading the body as a barometer of space
Invite being seen (from the bones).
What if where I am at is what I need?
The hexagram is the end and the beginning of all movement – where death and birth pass one into the other. Rest is merely a state of polarity that always posits...
by Tania Kupczak
Transferred from our blog archive at ArtsJournal Nov 17, 2005 Re: Gift by Annie Wagner I know you didn't mean "splinters" literally, Bret, but I'd say Johnson's bits of narrative are more like uncrackable nuts. They seem modeled on koans or parables without referent--they're not so much partial as they are hard and self-contained. The square of light and boxing ring-style blocking (feint, circle, feint) mirror his circular narrative style. If this is truth, it's the kind that doesn't easily give up its meaning. I liked this show for its paradoxes, which are almost too many to count. There's the demand for an Other who is also a twin. There's the performance of a working-class masculinity--an identity that often pretends to defy both performance and confession. And then there's the idea of prayer as entreaty masked as thanks. There were familiar contradictions, like the search for transcendence in filth. And perhaps best of all, there were mundane ironies...