Monday 4/7/8 D/D notes – Damaris
Christa and Cara absent,
Tiffany Johnson – Light Designer as gaze
Evening Format:
6:30 – 7:30 Sitting and Personal awareness practice
7:30 – 7:40 Break/the Gaze
7:40 – 9:30 Discussion of previous Thursday’s performance at Faculty Concert. Two sets of Aunts with a pre-determined director and menu, 20 minutes each, with a seven minute feedback session solicited from audience and performers
9:30 - 10:00 Housekeeping/Discussion
“This kind of inner work is challenging. It isn’t comfortable. it demands a kind of exertion that is slow and must also be gentle. There has to be a tolerance for not knowing and for ambiguity."
-Barbara Dilley
Reflections/moments that stood out for us from Thursday’s Performance at the Faculty concert:
Damaris’ big shadow and backwards facing text
Various people jumping over Katherine
Katherine’s stillness – having someone in the space who did not move at all.
Eliza was glad to have the audience there, and is looking for whole-ness
Katherine felt her performance was the most practice oriented she had ever experienced.
As a watcher Erika felt it was very satisfying and that we were listening well. The first half felt especially dynamic. Five people performing was very good. Individuals were seen and the whole. Hard to know where the middle is, there was just enough happening and we were going very slowly comparatively.
Laurie felt apart and not a part of in a bit of limbo or heartache watching but not audience.
Barbara was constantly uncomfortable in the director’s chair, this was a transition from practice to performance, and is interested in what each of us do as individuals to prepare for that. She felt unable to help with coaching in that un-intimate space. Is interested in the evolution of us deciding to repeat an Aunt and then a refinement of the menu as each time it was repeated.
From audience comments Barbara notes that the gaze projected their own state of mind, joined us through their own lens. There felt to be an equity of involvement and commitment from everyone. As Eliza voiced, this kind of work isn’t necessarily “fun”. There is an edge to the waking up, a loneliness.
Barbara wished to be more daring now in what feedback she gives to people. On Thursday she would have wanted to ask for more imitation, clusters of there, moments held for even longer durations. We are quicker than the audience might need us to be. The performance felt successfully like pre-amble to the evening’s performances.
Tyler would like to return to the practice of solo quads,
Katherine’s Standing Up Menu: Eliza, Laurie, Damaris, Miriam, Tyler
Easy to drape items of clothing. Five in an intimate square center, start sitting or lying holding a shape that is complex or simple in stillness, except one part of you remains moving gently/awake. You may transition to a new shape in the most task oriented way, but hold a shape for at least five breaths before changing. Look for a tender quality I each shape.
One by one, individuals may transition to standing. In this transition, others who are on the floor should assist them in rising by helping the up and giving them items of clothing.
The individual’s transition to standing is to allow them to “tell their story”. It may be gibberish, remembered or memorized text. Once you have “told your story” you will remain standing but still follow the rules of transitioning to shapes.
Erika meanwhile travels along the edge of the wall and occasionally coaches those in the space with BMC imagery.
Miriam’s 20 minute solo quads with watching flockers menu:
Four scoops light the four solo quads
Soloists may turn on and off their scoop to indicated beginning and end of solo
An individual may call a flock into being by taking a seated watching space watching a solo. The ensuing flock may move throughout the space, but at anytime the members of the flock may leave, or begin a solo in an empty quad.
Housekeeping
We note those “moments of evolution” are very hard to track. There is an excitement about solos as sustainability.
What are we giving?
Barbara notes that all who plan on performing on the 25/26 should attend this Sunday’s supper.
4/13 supper at Barbara’s
4/14 Christa, Katherine direct
Mon 4/21 d/d in 9190 tech and Light Hang
Wed 23 dress d/d
Fri 25 d/d performance (Cara in Rome!)
Sat 26 d/d performance (Cara in Rome!)
Tuesday, April 8, 2008
THREE SETS OF TWENTY MINUTES
Monday 3/17/8 D/D notes – Damaris
Laurie and Katherine absent,
No gaze
THREE SETS OF TWENTY MINUTES
Evening Format:
6:30 – 7:30 Sitting and Personal awareness practice
7:30 – 7:40 Break/the Gaze
7:40 – 9:30 Three sets of Aunts with a pre-determined director and menu, 20 minutes each, with a seven minute feedback session solicited from audience and performers
9:30 - 10:00 Housekeeping/Discussion
Damaris’ Recycled Images menu:
ip lamps, one person on flashlight, cd player open.
Barbara to introduce the eye practices on the musing stool. If someone has memorized text, they can play with it in the space and others can deconstruct.
I’d like to see certain images brought back: votives on the wall, the rocking trio, Mirima’s jumping, done by anyone at anytime.
Eliza’s Finding a Way into Language:
Across with consonants and circular vowel release
players (five or could be another number) start on stage left wall, in crouch or low position
floor light at stage left wall facing stage right wall
*cross to stage right and back to stage left in horizontal corridors,
- image of stereo signal lights building and lessening, some more than others, pressing forward and retreating
*also physical structure of moving up from and down to the ground
*each player has a seed consonant (given to them by another player) (later this developed into 2 consonants, or trading with another player)
*you move when making your consonant sound, the sound making movement is what propels you
*find the sound in and coming out of your body
*can release into vowel sound - and here the movement becomes circular and curvy in the space, out of corridors, and return back to your beginning place
*play with listening, repetition, solo, cacophony, dynamic, tempo, and volume of sound
-it developed with: eyes, facing, relationship to others, linking consonants and vowels, paying attention to the sound making connecting you to something inside, others, and the space
-bumping into wall at end of vowel release, switching corridors some, vowel release running and louder
-I wanted to go to linking consonants and vowel into a word, and then some change happens in the structure
BD’s It’s about five… Menu
2 walls lit by clip lights: areas for shadow making
5 people in the space at a time
One person (Erika/Katherine) lies still in the usl quad for entire Aunt
The stone and votive game – moving on the exhale
Damaris with war text prompts
Housekeeping
Mon 3/31 Damaris, Laurie, Eliza direct (KK out)
Tue 4/1 Faculty show tech: Eliza, Erika, Barbara
Wed 4/2 Faculty show dress (all performers: Tyler, Bobby, Damaris, Eliza, Cara stand in for Katherine)
Thur 4/3 Faculty Show BD directs
4/7
4/14 Christa, Katherine direct
Mon 4/21 d/d in 9190 tech and Light Hang
Wed 23 dress d/d
Fri 25 d/d performance (Cara in Rome!)
Sat 26 d/d performance (Cara in Rome!)
Laurie and Katherine absent,
No gaze
THREE SETS OF TWENTY MINUTES
Evening Format:
6:30 – 7:30 Sitting and Personal awareness practice
7:30 – 7:40 Break/the Gaze
7:40 – 9:30 Three sets of Aunts with a pre-determined director and menu, 20 minutes each, with a seven minute feedback session solicited from audience and performers
9:30 - 10:00 Housekeeping/Discussion
Damaris’ Recycled Images menu:
ip lamps, one person on flashlight, cd player open.
Barbara to introduce the eye practices on the musing stool. If someone has memorized text, they can play with it in the space and others can deconstruct.
I’d like to see certain images brought back: votives on the wall, the rocking trio, Mirima’s jumping, done by anyone at anytime.
Eliza’s Finding a Way into Language:
Across with consonants and circular vowel release
players (five or could be another number) start on stage left wall, in crouch or low position
floor light at stage left wall facing stage right wall
*cross to stage right and back to stage left in horizontal corridors,
- image of stereo signal lights building and lessening, some more than others, pressing forward and retreating
*also physical structure of moving up from and down to the ground
*each player has a seed consonant (given to them by another player) (later this developed into 2 consonants, or trading with another player)
*you move when making your consonant sound, the sound making movement is what propels you
*find the sound in and coming out of your body
*can release into vowel sound - and here the movement becomes circular and curvy in the space, out of corridors, and return back to your beginning place
*play with listening, repetition, solo, cacophony, dynamic, tempo, and volume of sound
-it developed with: eyes, facing, relationship to others, linking consonants and vowels, paying attention to the sound making connecting you to something inside, others, and the space
-bumping into wall at end of vowel release, switching corridors some, vowel release running and louder
-I wanted to go to linking consonants and vowel into a word, and then some change happens in the structure
BD’s It’s about five… Menu
2 walls lit by clip lights: areas for shadow making
5 people in the space at a time
One person (Erika/Katherine) lies still in the usl quad for entire Aunt
The stone and votive game – moving on the exhale
Damaris with war text prompts
Housekeeping
Mon 3/31 Damaris, Laurie, Eliza direct (KK out)
Tue 4/1 Faculty show tech: Eliza, Erika, Barbara
Wed 4/2 Faculty show dress (all performers: Tyler, Bobby, Damaris, Eliza, Cara stand in for Katherine)
Thur 4/3 Faculty Show BD directs
4/7
4/14 Christa, Katherine direct
Mon 4/21 d/d in 9190 tech and Light Hang
Wed 23 dress d/d
Fri 25 d/d performance (Cara in Rome!)
Sat 26 d/d performance (Cara in Rome!)
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