REHEARSAL #9

Wednesday,  May  25, 2016
 
PROCESS DETAILS
 
TECHNICAL

​SHERRI

• Jonathan and Maggie were unable to rehearse last week.
• Sherri observes that Jonathan and Maggie continually communicate as the process evolves.  Although Maggie likes simply receiving direction, their process is typical of Jonathan’s collaborative approach with his dancers.  Together they figure out what does and does not work.  In fact, Maggie’s “error” today becomes movement that Jonathan intends to incorporate into the dance.
• The languid nature of the initial part of the piece allows us to see wonderful details such as the micro movements of Maggie’s fingers.  Her hands are very expressive.  She has beautiful extension of her arms, great control of her upper body, and always draws out her movements.  A sense of calm pervades her performance in this section.
• There are several repeated motifs and phrases that prompt the viewer to ponder their meaning.
• Sherri notices that Jonathan expresses his excitement when Maggie executes the choreography as he has envisioned it.

JONATHAN

• Although a sketch of this first section is finished, he is still not happy with all of the material.
• He decides to cut some repetitive material and make a new phrase.
• First teaches the phrase without music, then adds music.  Indicates that this new material should be the most “fiery” part of this section of the dance.
• Principal focus again on arm choreography.  Detailed descriptions of angle and placement of arms, wrists, and hands.
• Likes Maggie’s change of rib position and reminds her to lead movements with her back and ribs.  Feels that the entire piece comes to life when she makes this adjustment.
• Continues to utilize repetition of small phrases to make bigger ones.
• Runs entire piece to see what feels right.
• Describes qualities he is seeking in a specific series of movement phrases: “sailing up”, then “dropping down as if surrendering.”  Asks for Maggie’s hips to drop further to achieve this effect.
• Likes a particular movement Maggie executes and incorporates it into the piece.
• Decides to move a particular phrase to a later point in the work.
• Reconsiders a segment toward the end of the first section in which he has Maggie repeat an earlier phrase.  Now feels that the repeated phrase is not interesting enough and is not the right dynamic.  He wants a quick tempo and sharp dynamic because the character is in her most frenetic state at this point.
• Conflicted about the final pose of this section; he loves his original choice, but ultimately decides to move it to the end of the third section of the piece.
• Acknowledges that Maggie’s current focus is remembering the choreography and finding it in her own body.  As the process continues, Jonathan will work with Maggie on finessing the movements.
• Jonathan is so pleased with the progress to date.  He loves the musicality of the piece.  It requires Maggie to find a body rhythm and figure out how long each movement intrinsically takes.  Maggie then finds impulses in the music to latch on to…like a duet with the music.  Jonathan creates a lot of his dances this way.  It is a particular choice that allows the dance to have its own life, separate from the music…yet, the music and dance ebb and flow in a synergistic way.  This approach is different from a set, prescribed musicality.  This way of dancing works with the romantic style of music Jonathan has selected.  In contrast, he could not have used Baroque, pop, or classical styles of music as they are very metered.
• As always, he videos the final run-through.

MAGGIE

• Concerned about her ability to retain the choreography as the piece gets longer.
• Asks Jonathan where he wants her visual focus at certain moments.
• Describes feeling and understanding the music which enables her to predict where she wants to be at a certain point in the music.  The particular style of the music makes it possible for her to feel it in her body.
• Asks to see the last video to remind her of the choreography so far.  This helps her to clarify the choreography and see where she was rushing a certain section.
• Body feels tight, tired, and not properly warmed up.
• Explains that every rehearsal of this work is a physical challenge.  In a manner of speaking, Maggie is “retired” -- she no longer teaches or takes ballet class.  She is physically active, hiking and taking Pilates classes, but is not in the same condition as she was when she was active as a professional dancer.
• As a self-described “older” dancer, she particularly enjoys the opening segment of this piece.  The section is slow, she primarily uses her upper body, she has memorized the movements, and she feels comfortable.  She loves the gestural-type of movement phrases as she is in a place of pure expression and can “really be a dancer.”  She can focus on upper body artistry instead of the technical virtuosity required by her past professional ballet work as well as her previous work with the Cunningham technique.
• However, as the rehearsals progress, she feels greater physical challenges.  The choreography is building in difficulty and intensity while her body feels stiff and weak -- “old.”  She has trouble finding her core.  She worries whether she can physically execute what the dance will require of her.  Each rehearsal, she has about two or three “tries” to learn the choreography and hopes it “turns out ok.”
• The phrases that require her to repeatedly go up and down are particularly difficult; she says her thighs feel so tight that it seems as if she has no strength.  At moments like this, she wonders whether she is too old to do this work.
• The technical difficulties Maggie experiences at this time of her life are particularly striking as she was always considered to be a very technical dancer during her professional career.

PSYCHOLOGICAL/EMOTIONAL

​SHERRI

• Maggie handles periodic interruptions by her daughter with impressive calm, kindness, and patience.  She whispers quietly to Penelope and guides her to a part of the room set up for her to play.

JONATHAN

• Feels he has to “dig deep” with this solo in order to create a work that is so slow and steady…like a deep meditation.  In contrast, so much of today’s choreography across genres is so frenetic.  Recognizes that “slowing the brain down” is good, but it also allows more room for doubt to creep in.  Tries to remind himself that he could make fast-paced work, but is choosing to slow down.
• A recent trip to Arizona (accompanying his wife on a business trip) highlighted and confirmed this inclination toward calm and introspection.  Described being surrounded by stillness and a “quiet, static beauty” that moved him spiritually.  The sky, mix of flat land with mountains, profusion of cactus plants, and singing birds as the only sound all contributed to an “expansive” experience he longs to hold on to.  His artistic self was also stimulated by the design and architecture of his Frank Lloyd Wright hotel.  Even caring for his sick children on the trip forced him to slow down.  Experiences Arizona as a “whole different world.”  Brings these internal experiences into rehearsal.
• Jonathan comes in today preoccupied with a variety of personal and professional challenges: challenges as a father, challenges maintaining his home, challenges with other artistic projects.  He looks forward to rehearsal today as a way to get his mind off of these issues.  Reminds himself to stay grounded in the work as this is what he loves to do.
• Maggie has to arrive late.  While it allows Jonathan to stretch and do some processing, the delay cuts into already limited rehearsal time.  However, he totally relates to the difficulty Maggie has getting to rehearsal and is grateful for the time they have together.
• Reminds himself that there is no deadline for this work.   “It’s all part of the design” -- room for lateness, interruptions from their kids.  From the beginning Jonathan has acknowledged and allowed for the contextual elements of artists who are also primary caregivers.  This “looser” way of operating is completely different from the dynamics he experienced in his professional dance career: totally professional atmosphere, starting on time, complete focus on the work, structured, prescribed environment, and the expectation that you leave all of your personal drama outside the studio.
• Pleased with this solo.  Tough to have confidence in an approach centered on quiet and stillness…yet, this is precisely his instinct, so he’s trying to trust it.  Every time Maggie runs through the piece, emotions well up within Jonathan; this experience tells Jonathan that “it’s right, it’s working.”
• Realizes that this piece is coming out at this time because it is what his “soul is asking for.”  In the past, most of his work was an outgrowth of a more cognitive artistic vision.  Now, he finds his work is a byproduct of a greater integration of intellectual and visceral impulses.
• In addition to this project, Jonathan is currently in discussions regarding a possible new business venture.  While he is excited about the project’s potential, these discussions ignite an internal dichotomy -- a desire to create commercial work on one hand vs. an impulse to create more organic, artistically driven work.  This new project would satisfy the commercial inclinations, but he is not in that place in his life right now; he is not focused on commercial viability.  Fortunately, the project is being planned for a future period of time.  Nevertheless, the duality he experiences triggers self-doubt.  Sherri and Jonathan discuss the coexistence of conflicting impulses, noting that he can act on either inclination given what feels authentic at any point in time.  There are no rights or wrongs here.  

MAGGIE

• Looked forward to rehearsal as she and Jonathan were unable to meet last week.
• Although she feels frustrated by her body’s limitations (muscle tightness and decreased strength), this feeling doesn’t affect the rest of her day.  The frustration is outweighed by enjoyment of a fulfilling artistic experience.   
• The novelty of coming to rehearsal is wearing off for her daughter Penelope; joining mom in the studio is no longer as interesting, so it’s harder for Maggie to get out the door with her to go to rehearsal.  She must prepare everything so she can take Penelope to preschool right after rehearsal.  It is also difficult to deal with Penelope’s needs as they arise while in the studio.  All of these challenges can be stressful.
• Feels somewhat fragmented as she and Jonathan only rehearse once a week.
• Realizing she can be a caregiver AND collaborate with a colleague she respects.