Week four (an update is required)

A week of stasis (for the choreography) as the dancers digest, develop and settle the materials. Over the last three weeks we have be creating a new work grounded in themes of percussion, and

Entering the studio does not begin (or end) at work … the space helps embody ideas with others, and in turn transforms them. My tendency for improvisation underlines these encounters of difference and opportunity; I look for what engages rather than what was expected.

Discarded materials, and long dormant desires unfold into the process. Complexities unravel into simpler narrative of being,

I try to give the dancers space within a mapped whole; drafting a work before refining gives perspective, contexts, experience. We all share in the making of meanings, but there is no requirement to agree, useful materials describe themselves.

Problem solving feels more familiar, not easier. After a while you recognise how much attention an aspect deserves.

I realise I am (still) elusive, whilst attempting to be explicit. This is unlikely to change.

“In the world of the dreamer there was solitude: all the exaltations and joys came in the moment of preparation for living. They took place in solitude. But with action came anxiety, and the sense of insuperable effort made to match the dream, and with it came weariness, discouragement, and the flight into solitude again. And then in solitude, in the opium den of remembrance, the possibility of pleasure again.”
Anaïs Nin
“Love never dies a natural death. It dies because we don’t know how to replenish its source. It dies of blindness and errors and betrayals. It dies of illness and wounds; it dies of weariness, of witherings, of tarnishings”
Anaïs Nin