gone through I'LL CRANE FOR YOU as a solo now. So that nerve wracking
process has been accomplished. It's fantastic everyone's different
take on the piece. And then we go back into it between times to
perform it as a group and find yet again new material, new sensations,
new information, new news. And Deborah is able to give such specific
notes to everyone which is so helpful. Actually it is helpful simply
to take all the notes she gives to people and accept them for oneself.
There is a lot of adrenalin in these solos. There is a lot of
adrenalin in the room. Deborah is very clear that this solo can in no
way be adrenalin driven. One must find a way to put that down and
"get what you need and nothing less." Helps with the blind adrenalin
rush. And this "getting what one needs" is what allows the performer
to transcend the habit of Time. That is to say, that Time must be
dealt with, but not simply as "I'll change time here" but that if one
is insisting on "getting what I need" then one will transcend the trap
or habit of time. What do I mean by time? Well in the dumb way just
from getting into a fixed rhythmic pattern.
What am I saying here? Well, that the choreography as such isn't
really the point, but experiencing the dancer dealing with Space &
with Time is the point. In fact as Deborah keeps saying, "be crafty
about Time & Space because there is not a lot else happening ...." I
love this -- get right to the point. Of course there is a lot
happening, but that's a secret ... sssssshhhhhhhhhhhhh ....