REHEARSAL #10

Wednesday, June 8, 2016
 
PROCESS DETAILS
 
TECHNICAL

​SHERRI

• Jonathan informs Sherri that following the 9th rehearsal, watching the latest video of the work, he realized that he could cut a complicated phrase he refers to as the denouement.  He had been struggling with this segment over the past few weeks.  Instead, he composes a simple variation on the face wiping gesture from earlier in the piece; he decides that this is a much more effective way to connect the climax of the dance with the ending of the first section.  Jonathan is so excited about this realization that he drives to Maggie’s house to share the news.  Jonathan shows Maggie the new gestures and is gratified by her response: “that’s beautiful!”
• Jonathan’s sister-in-law unable to watch his children (Edgar and Eliza) since Jonathan’s brother is in the hospital.  So both kids are at rehearsal, along with Maggie’s daughter Penelope.
• Jonathan and Maggie work to get the kids settled and focused on a movie and toys. 
• Edgar has a meltdown, and Eliza won’t leave Jonathan’s arms.
• Edgar eventually settles down to play with Penelope in a room adjacent to the studio.
• Jonathan must do almost everything with Eliza in his arms or burying herself in his legs:  warm-up, physically test out and demonstrate choreographic ideas, shakily film the video run through.
• Maggie pauses from rehearsing to take out crayons and paper and demonstrate drawing when Eliza becomes particularly fussy.
• Maggie’s subtle facial expressions as she performs the work communicate compelling emotional experiences.

JONATHAN

• Excited to implement the new denouement he envisioned after the last rehearsal.
• Tries to figure out how to “get [his] head in the game,” given the distractions of the kids.  He can’t start working even when Maggie is ready.  He eventually puts on music, walks back and forth while holding Eliza, playfully dances with her, and moves his body while thinking and preparing.  By finding a physical outlet, he then gets into the zone to create.
• Uses a variety of tools to give notes to Maggie: imagery, physical demonstration, theme interpretation, rhythmic vocalizations, and encouragement to bring her own interpretations and idiosyncratic experiences into the movement.
• Clarifies tempo in a series of phrases.
• Notes which movements should be sharper and heavier.
• Demonstrates how to make particular movements more dramatic.
• Wants more tempo variation in certain movement phrases.
• Explains that in the beginning Maggie can play with uneven timing.  The emotional story can come through even more through the timing and texture of simple movements.
• Verbally reviews the 3 central themes with Maggie.  Elaborates on the theme of a woman in contemplation; the woman is considering many different notions as communicated by quick tempo of certain gestures.  The subsequent slowing down of the movements conveys her attempt to keep from being overwhelmed by circumstances in her life.
• Plays with a particular phrase to make it better reflect his style.  Reviews and adjusts details of gestures.
• Wants Maggie to infuse another round of repeated movement phrases with new information her character now has at this point in her journey.
• Plays with dynamics and accents.
• Asks Maggie to tap into how these movements feel to her as both a character and performer.
• Clarifies ending of first section, making changes from the last rehearsal.  Adds movement here.  Changing the flip of the hand within one gesture makes a big difference.  Jonathan changes certain movements that feel too literal and derivative so they become more organic and in sync with his image of the piece.  Clarifies more rhythm/timing.
• Notes they are starting to get in to the “meat of the material.” 

MAGGIE

• Reviews video of last rehearsal and works on some arm movements in conjunction with the video.
• Jonathan demonstrates and clarifies a movement phrase that Maggie can’t remember.  Plays music of this segment so she can better sync her movements with the music.
• Happy that Jonathan removed a physically challenging phrase at the end of the first movement and added more gestures.  As a result, Maggie feels more connectedness artistically and the sequence of material seems more natural.
• Tries to incorporate as many of Jonathan’s notes as she can during the video run-through.

PSYCHOLOGICAL/EMOTIONAL

​JONATHAN

• Getting the kids ready to go to rehearsal was really stressful.  At the same time, he was excited to work with Maggie.  Knowing that the children would be present, he was ready to embrace whatever happens.  Had no expectations to work on new material.  Planned to mold the work that was already done, focusing on timing, texture, and dynamics.  Decided he would be ok with whatever amount of time they were actually able to work.
• Edgar’s meltdown upon arriving at the studio is unexpected.  He is seemingly inconsolable.  Jonathan is now in a foul mood, trying to figure out how to mentally prepare to work.  Decides to listen to Maggie and Sherri’s conversation and “get in to” their energy.  He finally gets inspired by moving to beautiful music.
• Feels pleased after the first run-through, feeling it confirms his decision to resist adding movement.
• Reveals that the piece so far is tapping into deep emotions.
• Loves the choreography and realizes, “I did it!”  He has created a piece he is proud of.
• Notes that in his former professional career, he always came to rehearsal prepared.  Now, he is usually unable to prepare at home, so he must do it at the beginning of rehearsal.
• Watching his kids run around, he is reminded of the strict studio etiquette he followed during his years as a dancer and choreographer.  While it eventually made sense to him back then, he now questions its rigidity.  He sees how odd studio rules seem to outsiders.  Moreover, he realizes that strict adherence to the rules can feel inhuman.  He is learning to “forgive [himself]” for not adhering to these rules any longer.  He had been worried that compromising on the rules would compromise his art.  He now sees that this fear never materialized; the quality of his work with Maggie is proof that his art has not suffered from his new approach.
• Experiences stressful health and developmental stage issues with his children.  Always hard to accomplish agenda for the day when dealing with so many unanticipated and constantly changing demands and challenges.
• Difficulty tolerating conflicting feelings and inclinations with regard to career and family.  Trying to be involved in a number of small projects while devoting sufficient time and attention to his kids.  Hard to do when kids demand his attention and present him with so many needs to address.  Attempts to take care of these needs AND participate in his artistic projects at the same time.  Winds up being pulled in 2 different directions, feeling both frustrated and guilty.
• Entered into discussions about new business venture with the understanding that his participation has to be limited.  Yet, exciting developments prompt him to become more involved in discussions; his creative self is stimulated and generates ideas he then shares.  He worries that this increased participation will lead him to overcommit himself.  This situation triggers guilt that he has not maintained his boundaries; he’s supposed to limit his work time to ensure he can devote enough time to his family.  He then reacts by “backpedaling,” further compounding the guilt.
• Often frustrated when he can’t “manifest what is in [his] head.”  He only has tiny windows of time to feed his artistic self.  He feels so frustrated when his attempts to create don’t work out that he feels like completely walking away from the endeavors.  After processing with Sherri, he realizes that “walking away” would keep him from having to sit with uncomfortable feelings.
• Jonathan and Sherri identify several preconceived ideas, faulty attributions, and self-blame that are the real sources of his distress.
• Experiences sense of disorientation and confusion since, in his former professional life, he learned to focus on 1 thing at a time for maximum effectiveness and accomplishment.  Now, he is stretched among several projects and parenting responsibilities.  Trying to trust his current inclinations, but worries that he’s not doing what he’s “supposed” to do.  Is it ok to spend a little time in a number of areas or should he focus most of his time on one?  Jonathan and Sherri discuss engaging in whatever outlet he desires at any point in time – knowing that these endeavors will shift back and forth between front and back burner.

MAGGIE

• Entered rehearsal feeling emotionally ready to work without any sense of pressure or anxiety.  Felt very “zen” and wasn’t worried about living up to any expectations.
• Had fun moving in Jonathan’s work and thought rehearsal was successful.