It was three quarters of the way through my morning meeting this morning that it occurred to me that this new work may be best viewed as a performance installation and not through a classic proscenium setting. The audience should surround it, be intermingled within it, and not sitting conveniently away from it, viewing it through the frame of the stage as if it were a moving a painting.
As soon as the thought occurred to me I became more and more convinced that this could be true. Up until now my sketches have assumed a formal presentation setting, but why? Perhaps because I am attempting to return to a more movement based vocabulary – a vocabulary that feels more formal to me at its core. But as soon as you take the content of the work and its source into consideration it doesn’t make sense. War is happening all around us, it is not neatly placed in front of us in manageable time increments, and the beauty of dance is that it is not tied to the canvas or screen.
At this point I am not sure what this means for our process, but I am excited by the idea and am even more anxious to see how this could effect the scope of the work, and what new opportunities arise by breaking the frame wide open.