REHEARSAL #3

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
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​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.”