On Thursday, the ladies and I (Richert is on vacation) took a step back and looked at the piece as a whole. We discussed my thoughts on changing the order (see new perspective blog below) and realized that we had not had the chance to really examine each part of work. What we saw on the video was a recording of broad choreographic strokes, chunks of movement and stillness without any of the detail and intensity we were all craving. We knew this was what we needed to do next.
We started with the opening sequence and a movement called “patience”. All of us were starting this movement in our torso – which created a spastic, bouncy feel – by shifting the initiation point to our feet we found the more nervous, tight nit energy I had been searching for. This shift changes the feeling of the entire opening, and prepares the audience for what is to come. It also allows the dancers to maintain the intensity of the movement longer, letting it move throughout their entire body slowly.
As I watched the dancers work this new way of executing “patience” I realized that I had been pushing us to make an entire sketch of the work from beginning to end. This could work in theory, but I had not taken the time to really analyze, and talk about what each section is and does. I had forgotten about process.