Breaking apart the process

Looking back at some of my posts, I get the impression some of the information I've posted may seem a little ad hoc. If someone's reading this (damn I hope someone's actually reading this!) And you encounter questions or confusions - just send me an email, and I'd be happy to share more or clarify. lauraliann@yahoo.ca

In any case, so the project continues. I'm attempting to expand my learning curve in the methods of the Liz Lerman Dance Exchange through several means; teaching the Critical Response Process, hosting creation workshops (teaching the 'tools'), and using the tools to create and share my own work.

I've begun a series at the memelab, an evening comprised of a tutorial in Liz Lerman's Critical Response Process, an open showing, and then the Critical Response in action. We hope to eventually make this a once a month happening where by different disciplines will share their work in the same evening and well get a cross discipline dialogue started using the CR process. The Critical Response Process is a multi step structure designed by the Dance Exchange in order to create an environment that promotes dialogue and aids the artist in receiving useful feedback and inspiration to step back into the studio and continue working. It is extremely versatile, and useful for all kinds of situations where one is looking to develop their work further, or just simply interact with others in a way that avoids defensiveness and promotes understanding. The current dates are Oct 21st and Nov 30th, 7-9 pm at memelab. Please contact me if you would like to take part/show your work in this series.

I am also interested in teaching the creation 'tools' of the Dance Exchange. Extremely adaptable and versatile, both the experienced dancer and the less educated mover can be equally challenged by the same exercises. Let me know if a creation/generating dances workshop would interest you.

With the generous cooperation of the memelab, I've been able to produce a semi final version of the process I began in the Dance Exchange studios. Posted here are excerpts of the work very early on in the process (created and recorded June 14th 2007 at the Dance Exchange - there is a meeting happening in the background). Originally I was creating using the text of a poem "Yipiyuck" by Shell Silverstein. I used the Dance Exchange tool 'movement metaphore' - creating three movements for each of the words or phrases; "desist," "would not let go," and "bit" (as in to bite something). These movements were then rearranged in a short phrase which is the first section you see in this clip. The second phrase, I did the same with "fall," "blow," and "mudglumps." The third, "Whoa!," "whisper," and "soft and low."

Stage hand goes to work....

This photo was taken in rehearsal today - the cast working on a full run through.
(Stephen and Jeffery in front, Cassie and Susie behind, Elver and Isabelle upstage left, Sarah stage right with three more people behind her whom I can't make out.)
Yet another day working on the VSA piece "The Farthest Earth From Thee," inspired by Shakespere's sonnets, and choreographed by Peter Dimuro at the Dance Exchange, will be performed this weekend at Greenberg Theatre in Washington, DC. I've been given the opportunity to come on board as an extra stage hand, which is great because it means I'm being involved at every level of preparation up until the show. I began sitting in on rehearsals last week for the first time and was amazed at how seamlessly the multi-ability cast was able to work together. For all the complaints and usual difficulties, my impression is that this team is experiencing far fewer creative differences and hold-ups then the average group of dancers and we're talking a 22 member, multi-generational, multi-physical ability cast, and a dog. Not your average group of dancers. The cast is moving in and out of various transitions with multiple props on wheels, with multiple issues to still work out from props, costumes, lines, and transitions, the cast is surprisingly calm with only a few days until the opening! I've especially enjoyed watching how adaptations and accommodations are made in a way that remains artistic and true to the quality of the work. Wheelchairs that can't make cross overs are worked into the stage space, some cast members are assisted with their entrances and exits, the crutches make cross overs whenever needed, and the dog is always entertained (and entertaining). Particularly interesting are the artistic choices when able bodied dancers are moving in the space with disabled dancers. The image is always interesting to watch and the choices clear. Here's a look into the creation of the work if you wish to read it:

Shakespeare’s Sonnet 44 for instance, gives us some obvious places to start for dance. Its references to “leap large lengths,” “injurious distance,” and “heavy tears” might lead us to seek 20 ways, both obvious and unexpected, of turning each of those phrases into motion. (movement metaphore) Also inspiring are the image polarities of sea and land, earth and water. But the ultimate, juicy challenge of this sonnet will likely be in what it says about the limits of physicality. That is where we find the true possibility for movement, partnering, imagery, and staging. That is where we find the permission for fantasy.(an interesting use of structure).