Week 3: Auditions

The last two Saturday I took part in two different auditions. It's always nerve-wracking to some extent, I don't always know how to prepare, what to expect, and if it's a situation I'd even like to see myself in. 

Last Saturday, the 2nd, was the infamous Jan Fabre. Antwerp-based, visual-artist-turned-theater-maker Fabre is a handful. I had heard only negative things about him as a person and very mixed reviews on his work. He recently got lots of Belgium media attention for his continual throwing of cats in his latest work. 

And that's not all... Here are the audition notes: 

"The 24-hour Project will be a Fabre project about Greek mythology, a search for the origins of tragedy. A battlefield of love and war. The actors wake and sleep on stage. For twenty-four hours Fabre directs his images using their stolen dreams.The 24-Hour Project cannibalises theatre. For a whole day and night the remnants are digested and ejected through the passage where everything ends up. In this way Fabre metamorphoses theatre. Has done all his life."

Contrary to the project itself, the first round was packed tightly into 1,5 hrs. I have never been so pushed, manipulated, displayed, and humiliated. We did a 'warm-up' of fast-moving turns, jumps, and acrobatics, solo improvisations to Michael Jackson, embodied killer animals and died for ten minutes, stared in the eyes of another completely motionless, and stood like columns while each of us introduced ourselves one-by-one and spoke a short text. 

He uses dancers as if their bodies and talents are clay to be sculpted, to be pushed to the limits of psycho, crazy, and grotesque. I was nearly the color blue so  he could use me to paint his artwork with. Where was the human relation in all of this?

Look, I like crazy. I love extremes. I want theater pieces to make you uncomfortable and questioning. This level has to come from a vary real place, it needs to be developed and trust between the director, performers and spectators needs to be in place for there to be any meaningful necessity for the extreme. 

Fabre didn't have my trust, my appreciation, my willingness, so how could I make the spectator also believe in what I was doing?

I didn't make it to the callback, and I would have walked out had I have been. I knew he was crazy... but I had to see it first hand if he was still a credible artist. 
If this man didn't channel his 'crazy' toward art-making.... he might just be a serial killer. 




So:

Yesterday's audition was far from this scene and it was a welcomed calmness. 


The choreographer, Elio Gervasi, is soft-spoken and kind-hearted. We worked mostly in improvisation. He gave a small warm-up with connections in Counter- and Release techniques, loosening up our joints and becoming available for movement. We learned an arm phrase that was big, spirally, and free of counts. To this we improvised the leg and bodywork. After a short break, we came to to watch, one-by-one again, a solo improv in the circle. The atmosphere with time was supportive and encouraging you to move like you.

However, I didn't connect with a lot of what Gervasi was asking for. He was difficult to understand through his accent and even passed that didn't give clear tasks. 
As I gathered by the end, he was looking for pure movement. Nothing expressive, with performance 'code', tricks. Just movement. 
I wasn't sure to what extend this meant. What about dynamics? and different textures? Qualities of movements? I had spent the last week with Peter Jasko explore all the different ways a body could move, have qualities, and be dynamic. And now I was asked to be a moving body...

I assume I'd understand it a bit better if I worked with him for longer. There is a simplicity that was alluring to me. He lets the body speak for itself. And a release to allow yourself to just be. I missed the challenge. I want to step into the studio every day to discover something new, pushing myself to different directions, abilities, possibilities. Where was the drive? the struggle? the NEED?

I'll hear back from him on Tuesday.

Day 7: Meg Stuart's Marathon Performance: Sketches/Notebook

This piece was just what I needed to See. 4 hours of scores, sketches and a journey into a Crystal Cave. 

Meg Stuart's Sketches/Notebook was not your average performance. And I don't mean it deviated from the normal structure. I mean that it defiantly left the realm of traditional dance pieces to the other extreme, it was a new creation in itself. 

You step into the theater space to find creatures playing in their element. The stage is transformed into a visually dynamic setting with ramps, chairs in clusters, props, fabrics and pillows of various textures, wardrobes full of costumes, and technical equipment. The show had already started when the audience arrives; we just happen to witness this scene as if joining them for a normal afternoon tea. But nothing was Normal.

I can not begin to go into the details of the whole four hours. What happened in that space from 9:00 until 1:30 in the morning is something so complex and involved, I can only give you a tiny glimpse into what occurred in this spacetime  

There was an element of transparency. The performance was open: in the show the process was very visible to the spectator. The technique, costume, stage & lighting designers were in the same space as the performers, therefore becoming performers themselves.  

Following the openness of the piece, there was an incredible amount of spectator interaction. What started with small things to engage the audience [little nods, handing out costumes, assigning tasks] leading to larger roles in the overall. Audience members were dressed up for a photos shoot, invited into a clumping circle and eventually into a communal improvisation and 'structure building'.

With this audience-spectator interaction, there was a sense of harmony and togetherness. By the end piece, I had been on stage a number of times, including a duet with a cast member and orienting myself structurally. There was definitely a level of trust which the audience had in the performers. I learned the rules they were operating and felt safe within that. I'm curious though how to make the trust go even deeper to the point when you get the audience to interact or do something which is outside of their comfort zone. A moment when they release their traditional ideas of the spectator/performer role and let go into the moment. I had the thought sometimes that I really wanted to join or propose an idea into the space but I never acted on that. How can you create the environment where I felt free to do so? or even required and willing to propose ideas during the performance?

This is a question I want to explore for myself and in my own work. It's a great research!

I loved the visual aspect of the piece. You could see so many layers of details. The spacing of the stage area had an immediate impact with ramps and areas of chairs arranged in a unique pattern. Quickly the element of texture and colors were introduced. With reflective and shiny as a theme, arranged within the space were with different fabrics, transparent plastics, geode rocks, colorful costumes, and a discoball to name a few items. Each were introduced on their own, given a distinct role in the piece related to the other items. It was a magical clash of 

This work is filled with layers of information! It touches sensory stimuli, social-cultural issues, performative tasks, and redefining theater space and time. 

I loved it. I loved the marathon of the extended four hour version. Its duration flooded me with waves from complete engagement to closing eyelids. I was overwhelmed and completely pleased with the direction Meg Stuart went into. All more I can say is I want more of this. 

Day 1: Workshops Begin!

Let it begin!

I arrived at the Arsenal, where the main studios are, early than needed. But I wanted to be prepared, catch my breath, and soak in the excitement.

There are 10 studios here, and I don't just mean 'studios', I mean huge arsenals where they built some of the sets of StarWars, halls that do deep past the horizon, where the dancing floor can't even cover the whole space because, I mean, who needs that much space??

Additionally, the space has a real 'summer camp' feeling to it. There is an outdoor cafe selling everything from coffees to warm meals for lunch. There are tables and benches and lounge chairs for you do sit, rest, socialize. Here we share everything from what we're doing in the workshops to what's in our lunch boxes.

And when you're done with your workshops, you can soak up the sun or take a dip in the knee-deep pool!

Camp Impulstanz....

And then of course there are the workshops:

This week I start the day with Writing Dance from Johnathon Burrows. My second workshop is Becoming Animal with Burno Caverna. And these workshops couldn't be anymore different!

More on these workshops after day Two... The information is still sinking in and flowing through