Blog Posts - Process in Real Time

REHEARSAL #8

7/26/2016

Wednesday, May 11, 2016

PROCESS DETAILS

TECHNICAL

SHERRI

Jonathan and Maggie were unable to rehearse last week.
Traffic jams and logistical challenges cut rehearsal time in half.
As Jonathan and Maggie discuss rehearsal scheduling difficulties, Jonathan expresses the hope that he can finish developing the work in enough time for Maggie to be able to understand her role in the piece. The more she can “live in” her character and make it her own, the more nuanced her performance becomes. Although there is no deadline for this project, Jonathan habitually thinks in these terms.

JONTHAN

Adds on a phrase that travels Maggie from downstage to upstage. Phrase serves as a “denouement of sorts” -- brings her to a recap of the beginning, but ending in a final pose that is a departure from the beginning (A’).

In choreographic terminology:
A = Opening material
B = Contrasting material
A’ (prime) = Variation on opening material

The traveling phrase is technically tricky. There is not enough time today to hone it and craft it. As a result, Jonathan plans to video it and review it later. At least he now has a clear idea to consider.

Jonathan has now sketched out whole first section. Because this was accomplished so quickly, he may not be 100% satisfied with it yet.

MAGGIE

Feels prepared and present emotionally and physically.

PSYCHOLOGICAL/EMOTIONAL

JONATHAN

Given the reduced rehearsal time, Jonathan adjusts his expectations accordingly. While waiting for Maggie, he tries to focus on himself, do his own mental work on the piece, warm up, and listen to music so he is ready when Maggie arrives. In addition, he is able to step back and evaluate the entire completed section. This assessment evokes excitement, immediately followed by the question, “why?” Is he excited because they have arrived at a milestone? Or because the piece is as good as he wants it to be? It’s hard to make sense of his feelings at this time.
Admits feeling afraid when he shares videos of this work in progress on Facebook. He always wants to “show a fleshed out product,” so it is challenging to allow his work to be seen at different stages of development. His inner voice pleads, “Please don’t judge me; this is not my fullest intention.”
Since most dance videos posted on Facebook seem to be brief, flashy, and rather frenetic, it is difficult to take a different approach and post material that is slow, minimalist, and somewhat longer in length. Moreover, if Jonathan is not getting “glowing” comments, he worries how his piece is being received. Then he reminds himself that he can’t control or interpret people’s reactions to his work. Instead, he needs to create for himself and make his own record of his process.

MAGGIE

“Great rehearsal and day!”

MISSED REHEARSAL

7/24/2016

Scheduling conflicts prevent Jonathan and Maggie from attending the next rehearsal.

REHEARSAL #7

7/23/2016

Wednesday, April 27, 2016

PROCESS DETAILS

TECHNICAL

SHERRI

Since Jonathan and Maggie missed 2 weeks of rehearsal and had created a lot of new material in recent sessions, they need to review and clarify areas that are unclear.

JONATHAN

Focuses on dynamics: choices of how strong or how light a movement should be performed…where sharp accents are needed and where softer qualities should be expressed. Example: When Maggie’s wrists are crossed reaching up and one hand reaches to its limit, the arm should then fall as if it is a tether that snapped. This dynamic change not only adds visceral interest, but also adds meaning; she is reaching so far beyond her limit, her arm HAS to fall.
Typically, Jonathan worries about technical elements when creating a dance: getting choreography done, clarifying steps, and ensuring movements are in the right sequence.
But then he remembers that he searches his mind and his core self creatively to be able to make technical decisions. Movement, emotions, and ideas together create a technical framework. The choreography looks “dry” until the dancer infuses the technical elements with emotion. At this point, Jonathan wears his director’s hat to guide his dancer’s interpretation of the material. This is when he works with dynamics and images. He hones the qualitative aspects of the choreography which breathe life into the work.
So while he doesn’t create a lot of new material today, he and Maggie work on quality.
Experienced a revelation after watching video from this rehearsal: The solo needs to work both in silence and with the music. Jonathan wants the dance to unfold in a way that is true to itself, not dictated by the music. Therefore, he intends to first watch videos in silence to generate ideas based on what he is seeing, then bring those ideas into rehearsal. If an idea works with the music but doesn’t seem to work in silence, he takes it as a warning sign; he must go back and adjust his approach until it works both ways. He will try to adhere to this parameter in this piece.

MAGGIE

Forgets choreography during a few moments in the run-through.
Feels physically tired today.

PSYCHOLOGICAL/EMOTIONAL

JONATHAN

The focus on qualitative work today makes a big difference. Feels confident and excited that this piece WILL have a life after it is made and that it WILL be performed.

MAGGIE

Several obstacles getting to rehearsal today precluded a proper warm-up. As a result, she feels rushed and unprepared.

MISSED REHEARSALS

7/22/2016

Other obligations prevent Maggie and Jonathan from attending the next 2 scheduled rehearsals. Frustrating interruption in the process!

REHEARSAL #6

7/21/2016

Wednesday, April 6, 2016

PROCESS DETAILS

TECHNICAL

SHERRI

Back at the studio today.
Again, Jonathan and Maggie start later than expected and take longer to settle in than anticipated. Ah, the life of a parent.

JONATHAN

He is excited by the clarity that emerged after the last rehearsal; he feels the piece should utilize a small space. This decision actually makes generating material so much easier. As a result, rehearsal is very productive, and he creates a lot of phrase work, guided by what he has learned on several fronts:

Dynamically: at this point in the dance, keep it aggressive.
Spatially: keep it contained in a small space.
Connectivity: keep everything strictly related in terms of motifs…keep going back to same gestures, then manipulate them to create a theme-and-variation dynamic.
Keep developing core ideas and avoid temptation to add new ones.

Runs out of time, so he can only video the new part of the dance.

MAGGIE

Questions her ability to retain the choreography since an increased amount of material is introduced.
Wonders whether she can physically keep up with the additional movements.

PSYCHOLOGICAL/EMOTIONAL

JONATHAN

Pleased with his conceptual progress and productivity today.
Jonathan is reminding himself that when he follows the “shoulds,” he winds up feeling frustrated and veering close to self-blame. More and more, he is catching himself engaging in this dynamic in many different spheres. He is trying to shift gears toward allowing authentic needs/impulses to guide him.

MAGGIE

Despite her concerns, rehearsal feels productive.
Cites a “recurring theme”: Although her body does not feel in shape, she finds it “amazing and cathartic to be expressive.”

REHEARSAL #5

7/19/2016

Wednesday, March 30, 2016

PROCESS DETAILS

TECHNICAL

SHERRI

Maggie and Jonathan were unable to rehearse March 23rd .
The studio was unavailable for this March 30th rehearsal. Since Maggie and Jonathan prefer to get together and work even if they can’t get a studio, they decided to rehearse in Jonathan’s basement.
Moved rugs and furniture, but because basement pillars reduce workable space, Jonathan is unable to add much more choreography to the traveling section of the dance.

JONATHAN

Going in to this rehearsal, Jonathan didn’t like the big traveling phrase he and Maggie worked on last session. He realized he was “subservient to the music” as he created those “floating and flying” movements; he did not stay true to Maggie’s character who “is not ready to fly yet.”
Instead, he determines that the thrashing movements need to continue; the character is not in a state of soaring and flying. So cutting these movements and substituting a more aggressive gesture feels like the right impulse.
Space constraints limit the amount of work he can do on this section, but at least important ideas are confirmed.
Reviewing the video after rehearsal, Jonathan recalls his frustration “fighting the pillars.” Suddenly, he views this impediment from a different perspective. Decides to rethink dimensions of the piece to assume they will always have to rehearse with obstacles. This thought leads to the conclusion that there is no reason the character has to travel through a lot of space.
Now he can see how beautiful the piece can be in a “genie bottle of an environment.” As a result, Jonathan commits to having his character dance in a “spotlight size” space for at least the first section of the piece. He will try to stay true to this concept moving forward.
The quick hand movements at the end of the phrases created today were inspired by a peacock fanning out its feathers.

MAGGIE

Feels great physically today.

PSYCHOLOGICAL/EMOTIONAL

SHERRI

Maggie and Jonathan realize they need to decompress for the first part of the rehearsal, so they just talk; in essence, they go with where they truly are as opposed to where they “ought” to be.

JONATHAN

Coming in to this rehearsal, Jonathan worried that working in his basement would feel frustrating or unfocused. However, he and Maggie are just as productive as they are in other rehearsals.

MAGGIE

The cozy atmosphere of Jonathan’s basement makes rehearsal seem casual and low key. Feels like a dance play date!

MISSED REHEARSAL

7/17/2016

Maggie and Jonathan miss rehearsal due to conflicting commitments. Despite their best intentions, multiple responsibilities and unforeseen obstacles make it very hard to keep to a regular weekly rehearsal schedule.

REHEARSAL #4

7/16/2016

Wednesday, March 16, 2016

PROCESS DETAILS

TECHNICAL

SHERRI

More new lower body choreography today.
The few quick, dynamic movements are startling juxtaposed with the slow, languid ones.

JONATHAN

He cleans up the first part of the piece.
He adds on a traveling phrase (movements that allow the dancer to travel through space). The movements convey a sense of flying and floating as well as a sense of line and technique.
Explains that when Maggie collects her legs together and returns to thrashing arm movements, we can see that her character is still feeling agitated.
Entered rehearsal today with intention of creating a lot more material than he ultimately did. But he reminds himself to be “meticulous” and “stay true to the impulse of the piece” rather than stick with the way he’s used to working. He is creating in a different context than in the past. Therefore, he must “obey the laws of physics” – he has to acknowledge all the forces around him and take these dynamics into consideration when making artistic decisions.

MAGGIE

Feeling tired while fighting a cold. Once she starts moving, her body warms up and feels better executing the choreography.
Forgets some material during the video run-through and stumbles in the middle of rehearsal.

PSYCHOLOGICAL/EMOTIONAL

JONATHAN

Used to working at a fast pace as a choreographer. Now, his context is forcing him to work at a slower pace. Trying to make peace with this different approach. The minimalism of the solo reflects the internal sense of quiet and stillness he is cultivating and is in sync with this current way of creating his dances.

MAGGIE

Physical ailments initially impact her mental focus, but feels psychologically clearer after dancing.
Committed to doing this one thing – collaborating with Jonathan – for herself. When she reflects on her own mother’s juggling of work and family, she wishes she had more opportunities to see her mother in action as an art teacher. She is glad that her son appreciates his parents’ artistic talents/pursuits.
Recognizes the tendency to assume other mothers have “figured it out” while she struggles.

REHEARSAL #3

7/14/2016

Wednesday, March 9, 2016

PROCESS DETAILS

TECHNICAL

SHERRI

Maggie was unable to make March 2nd rehearsal, so Jonathan used the studio time to work on the piece by himself.
Today’s rehearsal begins later than expected and takes longer to set up than anticipated due to child wrangling.
Maggie’s hand gestures convey sense that they are moving through liquid.
Maggie remains focused on dancing even at times when Penelope calls her name to ask a question about a game she is playing.
As Jonathan reminds himself that he must test out the ideas in his head with his dancers, we are reminded that artistic vision does not exist in a vacuum; it must be developed in context.

JONATHAN

Used March 2nd time to listen to the music and try to figure out the arc of the piece. Already knew the work would be divided into 3 sections, but wanted to clarify vision for overall arc. Revelation: the work would assume a cyclical quality…each section would feature a rebirth and a death of a Phoenix, as would the overall arc of the piece. In essence, the piece would spiral out of itself. This time alone in the studio turned out to be highly productive.
Prior to March 9th rehearsal, Jonathan tried to plan out a few choreographic ideas. But today, a clear internal voice said “no, don’t use them.” He realized he needed to follow a different thread that would be an outgrowth of his collaboration with Maggie and the music – not move forward with material he had only tried out on his own body. He reminded himself that he can’t know whether the ideas will work until he has collaborated with Maggie.
He begins rehearsal thinking he would continue to create new arm material. Instead, he decides to repeat a striking arm movement phrase he and Maggie worked on at the end of the last session. The repetition with slight variations is so beautiful and feels so “right,” it becomes the transition movement leading to the first time Maggie’s legs start moving.
Because the piece first focuses on arm movements for a considerable amount of time, Jonathan keeps assuming he will begin choreographing leg movements any moment. However, he is surprised to discover that he keeps delaying this moment. He didn’t think he would push it this far. He allows himself to listen to his instinct to wait until it viscerally feels right. Yet, he experiences this decision as a risk; it is an unusual choice.
Toward the end of the rehearsal, Jonathan feels the time is right to create initial leg movement phrases.

MAGGIE

The sequencing of the dance is making more sense.
Feeling physically comfortable with the material.

PSYCHOLOGICAL/EMOTIONAL

JONATHAN

Feels exhilarated by “doing what’s right”, recognizing what the choreography in a particular section “needs to be,” even though the decision is unconventional and, therefore, risky. Stays with what is truly authentic.
While working on the piece alone on March 2nd, Jonathan reflected on his father who passed away last fall. This time in the studio was very emotional for Jonathan who found himself “speaking” to his father as he contemplated this new piece.

MAGGIE

Characterizes rehearsal today as “juicy.” Feeling more confident psychologically and better able to “bring [her] own artists to Jonathan’s beautiful choreography.” Enjoys the opportunity to be physically and emotionally expressive.
Describes conflicting feelings emanating from her dual role as a mother and an artist. It is difficult to pursue her own endeavors while functioning as primary caregiver for her children. This challenge of balancing competing needs produces the entire gamut of emotions -- all in a single day.
Her experience of dancing this solo as an older dancer is both challenging and liberating. It is hard when her body won’t do what she wants it to do. Yet, she feels a wonderful sense of artistry and freedom in her performance. Since she is far less concerned, both intellectually and emotionally, than she was as a younger dancer, the dance becomes part of her body; “it just happens.”

MISSED REHEARSAL SALVAGED

7/13/2016

Maggie is unable to make next rehearsal due to a scheduling conflict. However, Jonathan uses the studio time to work on the piece by himself, yielding a highly productive session filled with several key insights. Keep an eye out for rehearsal #3 when he shares these revelations.

GENESIS OF THE WORK

Author

Sherri Muroff Kalt, founder of Process Portraits, LLC and author of Portrait of an Artistic Journey: The Creative Process in Real Life Context, is a Phi Beta Kappa, magna cum laude graduate of Duke University with a B.A. in psychology. She began her career in marketing and sales in New York City with L’Oréal, Monet Jewelers, and Givenchy. READ MORE

Jonathan Riedel, Choreographer and Artistic Director of Riedel Dance Theater, began choreographing professionally in 1999. In 2002, he staged his breakaway hit,The Unsightful Nanny, on the Limón Dance Company, and in 2003 he founded Riedel Dance Theater, presenting its inaugural season in NYC and Italy. His work quickly became known for its taut, intelligent humor and poignant dramatic power. DanceView Times proclaimed it “brilliant," "profoundly moving," and having "an ingenuity and timing that would make Petipa jealous." READ MORE