Tuesday 25 May 2010

Harry's Thoughts after America


What a year I have had re-connecting with the Company after almost ten years away. I was pleased to be invited to understudy Henry Montes during the devising stages of IF WE GO ON last summer. Keen to approach working with Charlotte again in a way that would perhaps coexist with and nurture my own research practice during the latter stages of my Choreography MA, at the Northern School of Contemporary Dance in leeds. Through circumstance I was then invited to develop this role, and perform during the autumn and spring tours of ‘if we go on’, as well as ‘broken chords’ in the USA, and Canada. To paraphrase IF WE GO ON by focussing on one thing (3 movement phrases) for what seemed like an everlasting amount of time, I was afforded a luxury infrequently encountered. As a progression of attempts, and performative experiences encountered throughout the tour, the three distinct and idiosyncratic movement phrases originally of Henry’s creation, had become incarnate and found their expression through me. This process was extremely satisfying, and indeed eventually paved the way to a developing parallel process within my own work. So much so that ongoing explorations of authenticity and plagiarism became primary considerations in a completed work that ‘I am not sure is mine’. Having been in process for a year and a half making my own work, it has been quite a relief and a new challenge to step into ‘already existing’ roles and works. However, this is where the similarities end between the two works, and where the meeting of myself with two radically different situations began. Performing BROKEN CHORDS despite the angst caused by the physical rigour of duets, and trios reeled off at break-neck speed and the highs and lows of dealing with a rollercoaster of emotions of my own making, as well as of others made for an interesting ride. I have to say that despite all the initial difficulty and concerns around stepping into someone else’s role, meeting the expectations (or not), I could have confidence in my/our ability to come together, and perform a work that is self assured and stands up to the test of time rather brilliantly. Giving birth can often be a painful process, there are no guarrantee’s as far as outcome and with (failing) elbow/shoulder strength needed, concerns around further injury were always present. However I have to say it was well worth persevering in the end. The experience of growing into BROKEN CHORDS whilst on tour in the U.S/Canada, however short lived (five shows) was thoroughly rewarding, scary, interspersed with moments of melancholy, madness and confusion. Nothing new there then, guffaw guffaw! In an empowering way the residing characteristic for myself was the joy experienced in performing again, meeting the conditions the work asked of me, and finding my own often emotive journey into the work. From an interior perspective, even though BROKEN CHORDS proved to be such a stark contrast to IF WE GO ON in both it’s physicality, and the inclusion experienced as opposed to the isolation determined by my role within IF WE GO ON, the two pieces share similarities and heritage’s not only of performer/creator/director, but also exist within similar terrains and aesthetic values like both pieces use of duration/disruption. In a way IF WE GO ON exists as an outcome of BROKEN CHORDS, not by attempting to redress, and find some kind of ‘new order’ but by attempting to redefine one's relationship with uncertainty and not knowing. Being on tour turned out to be a success, and one never knows what is going to happen, you may even fall in love, as I did. It’s a long way to Ottawa but a journey I am willing to take, facing my fears and allowing participation, despite how unrealistic it may seem. Similarly with my return to dance, performing and working with VDT, what a ride!

Sunday 23 May 2010

Kip's Thoughts on America, May 2010


To have a new and a old piece together at one venue, is something of a rare happening especially for a British company to do in the States, so i think it was an invaluable opportunity that for me showed a clear through-line in Charlotte's thoughts and questions about how to approach a creative process.There was the more prominent aspects of how the 4th wall (audience) was slowly revealed in Broken Chords, and how it was toppled in If We Go On, to the point where the audience had to work hard and react be it positive/negative to really fully open up to what If We Go On was trying to say.

From the aspect of a performer in Broken Chords, I feel if it were to precede a performance of '
If We Go On,it would quench what i believe a 'non-dance' audience member wants from a piece of dance/theatre as regards the varying atmospheres created in the sections of the work (ie Loss/longing/recklessness/abandonment/comedy etc) and also a feeling of empathy/connection to the varying and strong personalities of the performers.The focus on this last element is key for me in the success and translation of the work. After all of this it introduces the question 'what is the role of the audience member' - passive/active?

And then If followed by
If We Go Oni think the audience will be prepared to approach the piece in a more conceptual/questioning way. They are aware of what Charlotte is beginning to challenge/question in Broken Chords and are on board to go further with this element of her work.

To step into a previous role in Broken Chords was an interesting one for me! As mentioned before the distinct personality of the performers almost makes
Broken Chords. So i was in a mental quandary as i knew that there were elements of Darren's role that worked well in the piece, but re-enacted on a different personality/ body will always achieve different results.Charlotte was aware of this and importantly allowed me to take the the essence/skeleton of Darren's role and mix it with my approach to the character. For me also missing the creative process to make the piece, made me think it would have possibly sustained my character throughout the performance,connecting the dots from an emotive point of view, if i knew what it took to get there.

As always there is a different sense of humour ranging from individual people to countries. Broken Chords has humor that is both subtle and blatant. But what I learnt from even going to different venues, is to never predict when the audience will find something funny and also poignant,as it changed from night to night and venue to venue.

A standing ovation in Canada was quite something for me, maybe I don't go to the right performances but it seems a rare occurance in Britain.

This was my first tour after Graduation, so not having any level of expectation meant all the treatment from the venues was splendid! Even the free bottled water and fruit was something to call home about. Every venue was very welcoming, and it is an amazing and humbling feeling to know that a venue is thankful and excited to have you there. Washed clothes (with fabric softener) in Ottawa was the creme de la creme of the tour for me.

I have to say the word dance 'company' was very apt for my time in USA/Canada.It was a splendid group of people to spend my time with and I felt like a contributing company member from the off. As with tours, you are at times living in each others pockets, eating rehearsing together. But the mix of people's backgrounds and personalities slotted in well together, and it was a pleasure to both dance and relax with a mightily interesting company, in which I learnt a tremendous amount. So cheers guys!

Also simply the fact that i performed with a company I highly admire and respect, combined with it being in USA and Canada. One cant complain!Very grateful and lucky indeed! Before i say adieu: Musicians! Musicians should be integral to every dance company.I say it is tremendously healthy to have that creative element in the studio. having Alex and PK simply playing around (quite beautifully) on the cello and violin for morning warm up, is a very fond memory of my time with VDT.

Tuesday 18 May 2010

Scott's Thoughts on New Jersey


I went to New Jersey to meet the Company who was getting Broken Chords back up for the tour. It was interesting to be able to be on tour, and keep my head down as regards a piece of repertory that I was not performing in. Also, three new performers on board, who all seemed liked very nice peoples. Jessica from the theatre was very helpful with organising transport and whatall, and it felt like having a tour manager along when she was present in NJ. Also was good to be in a large, clean, well outfitted theatre, with professional crew and such. Nick and Dom (our Technical Team) seemed steady on with tech details.

I was in the audience for one show of Broken chords, and really really thought it looked great, and that a lot of care had gone into making and performing of it. It was good for me to see another piece of VDT rep, and be inspired by its qualities.

Performing IWGO was not unfamiliar. I wondered if having an American accent lost some of its impact when performing for Americans. There was some interesting post show discussion about how the work could be difficult for some audience, and also about how it might be difficult to perform in some ways. I got a general vibe, that there were middle class types in the audience on some nights, that were a bit to challenged by what was on the stage, and had to exit the theatre. It seems, after three tours of IWGO, that it may not be easy populist piece of work somehow... However, we got a decent review in the NY Times, which impresses most of my family to no end, and which, I assume, is helpful to the company on some level.

My biggest personal challenge with the performing of IWGO, is how to keep levity alive, in the face of so many existential questions...? Also, how to pitch irony, or, does irony work differently with different audiences? Etc.

I was sad to watch the company leave for the airport without me after NJ performances. I have grown very fond of these people. This is a familiar feeling at the end of a performance/tour project, and I don't know if I get any better at surviving it.

Practically, the North American tour was pillowed with lots of family visiting for me. Which is a whole other kind of intense personal experience. I am going to miss playing music and drinking beer and hanging out with people. I hope to see them sooner's.

Wednesday 5 May 2010

Fernanda Prata's Thoughts after Broken Chords

For me, Broken Chords has some similarities with If We Go On in that both shows have a need for a change, a break, something that needs a shifting. If I could say a phrase that would be common for both shows would be "It is enough!"

Broken Chords is an easier show to understand and has a strong and easier narrative. IWGO is very brave, has a strong narrative as well, but is not a telling story, it is almost a shout, something that you guys need to get of your chest.

Music wise, is very different in my opinion,
Broken Chords is more lyrical and has something that makes me think about the past. IWGO is more a distorted sound, and makes me think about confusion, present and again a shout.

Performing in America and Canada was great! I think the audience were so much more enthusiastic (especially the Americans) than English audiences. The treatment in the venues were fantastic! Compared to UK, I think they were the same.

The group (performers, technicians, director, office) were some of the most receptive people that I have ever worked with! Every single one was lovely to work with and received me and the other 2 new performers(Luisa and Kip) really well!

The thing that I am most impressed with this whole experience with VDT is the efficiency of the company's office. I thought Jane and the team did a brilliant job! The visa applications were arranged really well. The schedule for rehearsals and accommodation in Sheffield was fantastic! Payment and some unforeseen circumstances, like rearranging rehearsals, breakfasts, transportation were dealt with immediately.

I had a lovely time. Hope we have another tour soon!

Tuesday 4 May 2010

Patrycja's Thoughts, Jetlagged in Sheffield


I'm developing some sort of yearly routine of saying goodbye to people I have worked with. 'See you on the next project', or maybe 'never see you again?' You share long hours in the rehearsal studio, adrenaline, ideas, stress, a sense of fulfillment or a joy after a good show, bonkers parties in hotel, and then everyone disappears at once. Although I'm getting used to this process, it's always a bit sad. It's hard to desensitize yourself. It always takes some time to re-programme my brain to be at home. To slow down.

I can't quite decide if I felt any difference regarding audience responses to our work in America. It always depends on various conditions, like what age they are, how big the venue is (or how small and intimate), is it full house, are we on top of our game, or even what day of the week it is. And is there a bar in the theatre, so people can have a drink before the show, and relax before consuming the rather heavy meal we serve them. I'm not sure, I don't like generalising anyway... It always nice to get a standing ovation though..( which we did for all three performances in Ottowa).

Lovely to observe that performers started to form little groups, for pure joy purposes, entertaining themselves between the shows playing music or producing ever so slightly obscure and hilarious art work. I wonder if any of it could be useful in new show we 'll make...

Janusz's thoughts from Poland, after America


When I think of last 3 weeks of touring in US and Canada I think of many things at once. It’s quite hard to get my head around it all as it was quite full on, despite having few days off in between working days. And these were really needed at times.

It was interesting was to put 2 pieces in one venue, the recent If We Go On and the production that made company’s name, Broken Chords. Two completely different pieces, yet so similar in many ways.

We have done many shows in a row but this was a particulary hard experience for me. Being less physically active over last year. There is not so much dance in If We Go On, the show we have been touring recently, which was a deliberate choice, and this put quite a big pressure on me learning and performing Lee Clayden’s role in Broken Chords, rather than the one I originally made. It was physically demanding and draining rather than emotionally tiring, as many things have changed since we made the work. Five years have passed and the fun in doing it was still there. I enjoyed it more this time round. Maybe I had to wait a bit, maybe learn to be more patient, maybe grow up a bit more – in age and experience, maybe openly say to myself ’I can do it, I can actually do it’.

This touring thing is hard work and never easy to write about. Dear readers, memories were precious and these last 3 weeks of touring were worth going for and worth doing. As a company we learnt a lot from it. We have experienced different lifestyles, different public reactions, different food, beer prices and tipping and despite wanting to get back home (we all want it at times, don’t we?) I loved it and I thank you all for everything. Here’s to the next one!