Janusz arrives from Posnan and Carly from London and the atmosphere shifts again. I am not sure yet whether a constantly evolving cast helps or hinders my own creative process. A devising process staggered into three weekly chunks of time with each performer means I have to hold much real and imagined data in my head as we work – imagining Scott here and Val there whilst working with everyone else. Aurora’s devising process feels like a long time ago. She has given birth to a baby girl (a week or so overdue) and is doing well. She was expecting to come over on 6th September, but I wonder if this is realistic now - I hope she isn’t worrying too much about work and enjoying her first few weeks with her daughter.
My approach to making this piece has shifted this week. I have been in a mental and emotional fog of prescribed drugs since I started making work with Aurora and I have now finished the course and seem to be seeing straight again.
I reflect on how each performer seems to be turning up with quite a strong personal agenda for making this particular piece of work. Some would really rather work alone. Some really don’t want to be touched or manhandled. Some want to feel connected to the group. Some want to be out on a limb. Some don’t want to do partner work. Some feel it’s time to lay down the instruments they are expert at playing. Some would rather be down the pub. Most like to play and improvise. Again questions of free will and coercion – what does the piece need? Am I not being clear enough? In allowing more space and freedom for people to work things out for themselves within a process, am I being less of a director? How much direction to give experienced practitioners? Am I just providing a frame for their own explorations? What will we be left with? Where is the sense of ensemble? Will that come in September when we all reconvene to finish making and structuring the work? Am I giving people enough rope to hang themselves with?
Carly and Janusz arrive and there are expectations from me for more movement. Henry will spend the week consolidating his materials before leaving for three weeks. He is studious and independent in his approach, very clear about what he likes and doesn’t like, what he is willing and not willing to do on stage. He works things out for himself in relation to what is going on around him and doesn’t seem to equate dancing with ‘feeling’ anything- he has more of a functional approach somehow. Janusz is hoping not to do any duets this year – and I rather annoyingly ask him to create a wall duet with Carly on the first day he arrives. I can feel his dismay at being asked to create such a thing (again) but we need some material that serve this function and it’s a useful way to get Carly (who I haven’t worked with before) into the thick of it.
We play under the lights imagining the light as water falling on different parts of the body.
We develop a motif for PK that she is shocked every time the light falls on her face.
We develop circular patterns that may be useful to create the ‘storm’ I’ve been planning.
We describe a dance we have always wanted to make.
We read out loud several comical dances (from Italy, North London, Constantinople) that Wendy has written for us to try. We try them out. They are pretty bad.
PK starts work on a LOOK AT ME text.
We talk about rituals and repetition, about leaving a mark and the translation of movement into sound.
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