Tag Archives: rehearsal process

6am

woke up before the alarm, rehearsal is in an hour. I’m excited about how quickly things are moving, all the opportunities that have been coming our way, and the creative momentum that it has created. The floor section is coming along. We cut out a lot of the fat, and now its a lean, mean piece of dance sprinkled with some interesting acrobatics. I can’t wait to see ricochet’s show tonight. Their piece on strings in Moisture festival was full of complex movement and ethereal images that you don’t see in seattle that often. I was also excited by Terry Crane’s rope act. I love how he makes it seem like he’s dancing on the rope, rather than looking like a retired male gymnast who just transposed ring moves to a vertical apparatus. His floor work was graceful and snappy. OH! and this guy Simon Chaban did a full twisting back flip from standing. Elizabeth and I were amazed and wishing that we were twelve again….

Advertisements

in which our heroines are super optimistic while juggling other projects; trying to be computer savvy

Hi good people!

First off, I have to just acknowledge that we have been a little out of sorts this past week because of the death of our friend and volunteer, John Moore. He was an extremely kind and generous man. He was smart and talented and laughed a lot. We loved him personally and professionally. We will miss you very much, John.

****
On a happier note, ticktock is moving into the summer with a bunch of prospects and a slew of festival applications in hand. You might have spied Jill recently performing solo at the Brotherhood in Olympia. We will be returning to Oly at the end of May, performing no.1 — probably at the Royal but we are also exploring the idea of performing the show in an open air venue there… I don’t want to say too much but we will keep you posted. It’s so exciting! In July, I (hey, it’s Elizabeth!) will be taking my solo to Austin to perform in the Big Range Dance Festival. I am super psyched about that because I am from Austin, and haven’t performed there in over 10 years now. I can’t wait to see what old friends and collaborators have to say about my new work. I am eager to hear their feedback– they have a unique perspective of me as an artist. They knew me “when”.

I just spent about a dozen hours cutting video of no.1 into a ten minute trailer. I will definitely post a link…as soon as I figure out how to get the darn thing off of Bruce’s computer and in the correct format and online. Groan. It is hard work, ya’ll! I did it for support material for a bunch of applications– some things in the PNW, some not. I will post updates here on what pans out. Keep your fingers crossed for us!

As for now, Jill and I have a bunch of shows with our other project, the Aerialistas, coming up in the Moisture Festival. We opened at ACT Theatre this weekend, and will move on to Hales Palladium and Open Space on Vashon Island. You can see the full schedule of all my performances at lizaroseaerial.com. I will be performing my trap solo from no.1 twice at Hales, and Jill and Bridget will be making appearances at Aerlift on Mar. 24th, performing new ticktock works in progress. Jill might do her freaky avant Train Sounds rope solo– not to be missed!

In the meantime, we are in the studio working a lot on our hand-to-hand and acro skills. I don’t know why, but that just seems to be where our interests lie these days. Ideas are percolating for the next show, and it is going to be weird. Very, very weird. We can’t wait.

Leave us a comment if you’re reading this. We’d like to hear from you!


on feb. 14

We are entangled. We have convoluted weight shifts. All that effort feels good. And ease? That could feel good…to execute and to witness. Laban theory I learned through modern dance training clarifies possibilites. Laban categorized Effort in Flow: free or bound, Weight: light or strong, Time: sustained or quick. Space: direct or indirect.
Is the movement fluid or restrained? How much weight should I put into this? Am I floating or thrusting? Gliding or slashing? Dabbing or wringing? Flicking or pressing? We are open to a myriad of movements. These movements all have vast emotional content. Do we make that jumpy, allegro piece that we talk about? We will delve deeper and look closer at the edges of circus and dance and what qualities these disciplines sustain that make them distinct. We deconstruct again and reconstruct again. The story lies within it all girls, let’s try to not overanalyze it. Easily said…


j-tock

hanging out at the studio today, we got a very complicated, effort-full way of getting each other from one side of the stage to the other…..it’s all effort, the difference is in how much we allow you to see…. can you force choreography to tell a story, or does the movement just come out and tell you which story it wants you to get out on the table? uuuuuuhhhhh….i’m happy with the progress and the transitions we’re working on, but who is going to be there to carry bridget to the fabric? does this make sense that the manipulated (elizabeth) teams up with the manipulators and then becomes the last one? i feel like the only constant role is that our roles are constantly changing. sounds about right…..


rehearsal

au·then·tic·i·ty

(ô’thěn-tĭs’ĭ-tē)
n. The quality or condition of being authentic, trustworthy, or genuine.

(The American Heritage® Dictionary of the English Language, Fourth Edition
Copyright © 2009 by Houghton Mifflin Company.
Published by Houghton Mifflin Company. All rights reserved.)

What would happen if all our relationships were based on physical touch? On lifting, heaving, pushing, tipping, rolling, moving… each other. Around. On complete physical honesty. On what CAN you do with your body? With mine?

I am just wondering if what is for us the everyday experience of total physical authenticity is what informs the authenticity of our friendships in the moments when we are still. Making them “intense”, sometimes exhausting. Maybe it’s the work of remaining authentic in our conversations as we are in our movement, when our tendency is to do the familiar duck and cover behind the words, words, words. We’re so trained. Our scripts so engraved on our sweet little hearts… It’s just easier, our old brain says.

But it isn’t. You end up misaligned. At cross-purposes with yourself.

Our minds can make a lie out of every nanosecond, but our bodies never do. Can’t do. It’s why dance exists as an artform. Because people couldn’t get authentic enough with words. I’ve always wanted to be one of those people for whom dance is enough. Maybe I will be someday, still.