A body still is taking up just as much space and time as a body moving. The result is that neither the one nor the other--moving or being still--is more of less important, except it's nice to see a dancer moving. But the moving becomes more clear if the space and time around the moving are one of its opposite--stillness. Aside from the personal skill and clarity of the individual dancer, there are certain things that make clear to a spectator what the dancer is doing. Merce Cunningham ["Space, Time, and Dance," from Trans/Formations 1, pp. 150-151, Wittenborn & Co, 1952] As I reflect upon the choreographic dance film and the adaptation that I embarked upon this term, I am reminded of the many facets that influence a piece of work beyond what is obvious to the choreographer or the viewer. As dancers we have a strong connection to space. In fact, space holds meaning in different ways. People attach meaning to space. Center center is very different than center downstage or upstage right. Similarly, dancing on concrete in the middle of a street will feel much differently than dancing in an open field of grass. We all have feelings about space and so we need to take it into account when creating, choreographing, and collaborating.
I am particularly drawn to the quote above, as it emphasizes the significance of stillness. A body that is still is equally as dynamic as a body that is in motion. As such, the audience plays a role in the perception of time and space. I feel that these elements, time and perception, can truly help or hinder a piece of choreography. When we combine these two elements with an attachment to space, we are witnessing a truly unique perspective of the dancing or moving body. Both from the perspective of the choreographer and the dancer. As I continue my practice as an educator and choreographer I want to challenge my view of space and the dancing body. My previous conventions and techniques include an element of uniqueness, but I must challenge myself to become more dynamic. By doing so, I will be able to innovate and diversify the conventions of musical theatre dance to create my own style of theatre dance. ______________ I want to take an opportunity to thank the dancers that have been involved with this project over the past six months: Kaia Koehler, Daisy Bowron, Dominika Kalicka, Yu Chen Chiu, Zuzanna Gruszczyńska, Maja Melanowicz, Nicollette Amico, Giada Palmisano, and Jodie Stimpson. In addition, the creative team for the original choreographic piece, "Keep Dance Alive,": Alesya Bondareva (Video Editor), Naima Fiorani (Videographer), and Vitor Palma (Video Production Assistant). StageWrite is a software platform that helps directors and choreographers across the globe track and input dancers and performers staging and choreography tracks into stage plans, scripts, and more! I was interested to use the software both as a choreographer and a dancer. As a choreographer, can I better prepare myself for rehearsals if I am able to map out traffic patterns and send them to my dancers? As a dancer could I be more prepared for a technical rehearsal if I knew my entrances and exits, as well as spacing? I believe the short answer to both questions is yes. By manipulating the user-friendly software, I was able to map out the entire choreography in just a few hours. Some of the stagings below may need adjusting in the space, for instance some of the numbers and entrances... but for the most part, I believe this software could be a key instrument is supporting dancers and choreographers! Especially for projects that are touring or include a swing or understudy so that each individual performer is not creating their own version of the stage plan and spacings. Less work for all. Stage Write: "Thousands of productions around the world trust Stage Write to track the moving pieces in the production." https://www.stagewritesoftware.com/ I encourage you to flick through the various "scenes" or "stages" in the choreography to see how this software can be used for dancer and furniture spacing, entrances and exits, as well as traffic patterns. Can unison movement be achieved when two different dancers are in different spaces? I don’t think so. At least not for my choreography. When static movement is filmed, the perspective of the view of the audience, and where the dancer is dancing in their space that affects the ways in which they are viewed. For instance, Jodie and Giada didn’t have much depth in their spaces. If they did, they didn’t particularly use it. This leads to some of the movements becoming smaller or toned down as opposed to how the movements were originally choreographed, or meant to be performed. Additionally, I find it particularly interesting to note the differences in timing between the four dancers. Timing was a major aspect of the virtual rehearsal process that I found to be difficult. Not only navigating the delay of the Zoom screen, but adapting the choreography so that each of the dancers could rely on themselves, rather than on each other.
In regards to storytelling and expression, I believe the original choreography allows the audience to connect on a deeper level. The adapted duet seems distanced in a way that pulls focus away from the story and choreography, and puts more of the focus on the individual dancer and how they are moving and performing. It also doesn't help that the moments I attempted for the dancers to connect and look at each other ended with them both looking in the same direction. Something to take into consideration for my next project: having clear expectations and rehearsing them so that they become clear to the dancers as well. In watching these two choreographies side-by-side I begin to notice the differences in detail between the dancers, but also between the intention and facings. In the filmed piece, the dancer in the pink is able to hide/show/change features of her body with the use of the camera angles and camera editing. In the studio space, the dancer in the red is much more exposed and the choreography feels more "live" because the focus is on the dancer and choreography rather than the external elements of film and editing. I find it particularly interesting to look at the timing of both dancers. Although the music has a very strong beat to it, each of the dancers embody that beat differently. The dancer in the pink has more of a dynamic attack to each of the movements - playing with pauses and clear movements, whereas the dancer in the red has more of a flow throughout her body. From a choreographer perspective, I am much more drawn to the pauses and clear movements. That being said, the editing plays a huge role in how I view the choreography itself... which can make it seem different than what it actually was while being filmed.
A personal reflection that I have after working with both dancers is that I definitely put more focus into the small details for the dancer in the red, whereas the dancer in the pink knew the choreography and was asked to repeat and repeat in order to film all of the different shots and angles. It is also much different viewing the choreography statically and from afar as opposed to up close and from dynamic angles. I couldn't be more happy with how today's rehearsal went! As it was our final day together, I wanted to make sure that both Giada and Jodie felt comfortable and confident with the material before filming separately this week. We began rehearsal with twenty minutes of mindfulness, followed by a short improvisation. Today's mindfulness exercises had a strong connection to characterisation and imagination. By starting on the floor in a seated or semi-supine position, the dancers extremities are touching the floor. Starting with an image of the ocean, I allowed them to feel the warmth of the sand, the heat from the sun, and the cool breeze blowing past their face. This imagery exercise developed into a small improvisation that blended an embodiment of their character while warming up various parts of the body. I asked them to journal for two minutes non-stop, regardless of what they had or wanted to say. I find this exercise to be useful, especially with dancers, because we are forced to dig deeper into our feelings and find more specificity with how we react and translate experience. After a series of writing prompts, I challenged them to speak for three minutes without interruption. Both dancers did incredibly well! Even after the ninety-second mark when both of them seemed to trail off topic, they both stayed engaged and spoke the entire time. Again, I find this exercise to be extremely useful because we are forced to trust our instincts and not rely on what someone else will respond with, but rather trust in what we are saying. We then did a quick ten-minute warmup before taking a break. After we came back from our break we reviewed the choreography and performed individually. Both dancers were able to give each other feedback and suggestions for improvement.
I ended today's rehearsal with an open space for feedback. I find it incredibly important to receive feedback, both positive and negative, as a choreographer and teacher. In fact, I am always looking to grow! I am incredibly thankful that both Giada and Jodie were able to find value in this project. Today's rehearsal was one-on-one held via Zoom from 2-3pm UK time with Giada. After Sunday's rehearsal with Jodie, I was really looking forward to diving into the choreography and characterisation with Giada. We began rehearsal with a connection to the breath and the body. I find that using soft piano music helps relax my body and I was happy to hear that it has the same affect for others. Some of the characterisation that Giada and I worked on today is her connection with Jodie (as characters).
Some of the following things were developed in the first week, but I gave her a prompt to think more critically over the next few days before our final rehearsal: Name Description (5 lines) Character at the start of the piece? Character traits Actions taken by character: Apprehensive, nervous, taking action to meet and connect with new person How did the character change over time? As I imagine it, the two characters are long-lost sisters or best friends. Perhaps their lives drifted apart due to a miscommunication? Perhaps because they went their separate ways at one point? I'm quite excited to develop this idea further with the dancers. As noted in the choreography , both dancers begin dancing individually before noticing the other one during the "skips." At that point, there is a sense of nervousness and apprehension. "Do I recognize this person?" "Is she who I think she is?" "How does she feel about me?" As they walk around each other their connection grows before they dance together in unison and joy. As their section ends, they drift apart still holding on to the memories they have had together. I look forward to our final rehearsal on Sunday before the dancers begin filming in their own spaces for feedback.  Today I had a very successful rehearsal with Nicollette, who learned and adapted the original solo in collaboration with myself for the project. For this rehearsal we were able to go into the studio which helped me adapt the choreography immensely! Not only that, but the teaching in-person is far easier than the teaching via Zoom that I am doing simultaneously for the duet. To prepare for the solo, Nicollette had watched the original choreography and spent roughly two hours picking apart certain bits for herself. When we got into the space some of the facings were incorrect (as to be expected), but the general essence of the movement was very prevalent. This also allowed us to advance through the choreography quickly, without having to dwell on theme and characteristics. I am quite happy with how the rehearsal went today, as it challenged my choreographic skills to think quickly and effectively. As the solo was originally choreographed for the solo dancer, it was also interesting for me to find nuances in Nicollette's movement to add and adjust the choreography with. I am quite excited to display the two solo's together to analyse the different in movement vocabularies and timing!
Today's rehearsal was one-on-one held via Zoom from 1-2pm UK-time with Jodie. This rehearsal allowed me to focus on her specific movements and characterisation choices, as teaching via Zoom has been quite difficult for me to make adjustments and look at the choreography itself. By creating a safe and supportive rehearsal environment from the beginning of this project, I was able to connect with Jodie a bit more on how she was feeling within the choreography and how I can adjust and explain different movements to help with translation. Although we were only working on the duet choreography, I found it very useful to have one-on-one rehearsal time. Working on Zoom can also feel very isolating for dancers, especially dance artists who aren't often asked to use their voices and opinions in a rehearsal or educational setting. My hope, which seemed to translate well, is that through the personal connections, the choreography and trust shines through a bit stronger.
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