Planning..

Had an excellent brainstorming session with Steve yesterday. We've got some great ideas. Some of them are a bit crazy, but if we can pull them off logistically, it will be totally awesome! We're going to have to be near interval or the end of the show, because this is becoming a prop-heavy production. As soon as we have sourced a jumping castle and gold hanging-decorations we'll start working with them in rehearsal.
We were talking about elements from the first performance that we want to retain. The theme (alienation and intimacy) and the improvisatory approach are essential. I would also like to maintain the nonchalance, in other words not having anything over-acted, but at the same time not miserable or vacant. We also spoke about the dialogues that we will facilitate developing. I want them to develop from each persons own knowledge and experiences. This means that the performers will not be pretending to be anyone else but themselves. This is quite important to me.

The 'grid-walking' will give the piece a cohesive structure. It also gives the stage space depth and perspective and a flow of energy. Like a Mondrian painting. Clean, fascinating. Originally the 'grid-walking' was done with the sound of traffic in the background. Perhaps this time, since we are in a more party environment, there should be the sound of many conversations coming from a large crowd. This will introduce the theme right away. Then the 'grid-walking' evokes a feeling of alienation, many people walking past each other, never engaging in contact.
Eventually everyone will walk behind the gold hangings. This will be followed by 'Celebrate good times, come on' song -which will be very minimal in movement to contrast the jovial soundtrack (walking out of, and back behind the gold hangings and then a 'small' fun dance). I think that the crowd sounds should transition back after this. We need to find a good transition into the Chopin duet and also a transition to the conversations on the jumping castle.

Ready, steady, GO!

Great Auditions on Tuesday! I got the sense that everyone auditioning had just as much fun as we did. Steve and I did a whole bunch of games/exercises that combined movement and voice.
One of the main aims of the work is to use ordinary, practical pedestrian movement. This can sometimes be a bit awkward for trained dancers, but on the other hand, we were pleasantly surprised by the good use of voice and by the way in which the conversational approach was grasped.
It was enjoyable to take the audition with Steven, as our instructions to the performers would gain momentum from each other, complementing the central ideas and directing their development.
I'm really glad that the audition had such a fun atmosphere. We plan to maintain this in performance. We're thinking of going with a party theme, shiny gold decorations and maybe a disco ball.. chocolate cake and cheesy 80's/90's music. It will be funny, but not in a slick or slap-stick way. The humor will arise from the seriousness of the situation. Kind of like that under-cut hair cut that boys used to get back in the day, or those ugly platform shoes that we used to think were so cool. We look back now and laugh at ourselves. It's funny, but also sort of pathetic.
We are going to work with repetition quite a bit to explore how it changes the meaning of gestures and actions. We've decided to cast everyone who
attended the audition and then begin to develop relationships between some central figures.
We also hope to get some non-dancers and drama students on board.
Looks like things are off to a great start. We're really looking forward to the next rehearsal. I wonder what everyone thought about the audition... I'd love to know which aspects they found most fun, challenging, engaging, difficult, uncomfortable, enjoyable...
(hint hint - cue for performers to comment on this post)

Thanks Justi

Thanks go to Justin Tornow for the inspiration to share this process, and blog the planning. We salute you! and the wonderfulness of Transparency.

An improvisation investigation, of alienation and intimacy

So, we've decided to keep with the theme of 'alienation and intimacy'.
As well as an improvisation investigation, - we also plan to explore-
humour, movement, dialogue and chance.

'Between alienation and suffocation, fleeting moments of intimacy disrupt the chaos of the crowd.'

Auditions

Auditions for the Cape Town cast are happening on 27 July.
We're looking for interesting individuals to explore with us through improvisation.
For the audition I'd like to start with some of the stuff we'll be working on.
I think I'll put everyone into partners and begin with the dialogue that we're going to explore.
Working from the structure of Cameron's character from the last performance, I will ask everyone to think of something recent that happened that was either interesting, annoying, sad, memorable or funny (the kind of thing you would tell a friend when debriefing). The other partner will just stare at them blankly. Then they swap roles. It's like you're talking AT someone... kind of like an email or blog...
I'm looking for people who are comfortable talking, without acting.. spontaneous and pedestrian. I'll also give a movement sequence that can be played with, alone or in partners.
It will be fun to see what different people come up with..

So long and thanks... but can you juggle?

Today is exactly a month before the next performance installment of 'So long and thanks for all the sidewalk'. The first performance was on April 30th at UNCG Dance Department (USA). The next performance will be on August 26th at the Baxter Dance Festival (Cape Town). I have asked Steven Van Wyk to collaborate with me on this chapter of the project. We have decided to call the second performance 'So long and thanks... but can you juggle?'
(It has nothing to do with juggling)