by Kate Hilliard
Week two brought about many questions. Can the spontaneity of a choreographic section be maintained when the work is being rehearsed daily? It is quite easy to stay connected to the moment while performing movement where the final situation is unknown, for example an open improv or new task. But how is it possible to create that present state of being when the choreography is concrete and the dancers know the ending before they begin to move? I am searching for ways to create complex, specific movement that requires repetition to perfect, without losing the feeling for the audience that what the performers are experiencing is fresh and new.
When asked to speak about living in the present, dancer Josh Rowe had this to say:
The glare on my toe nail. The murmur of my friends' chatting in the other room. The fan whirring in the bathroom. The shoes scattered all over the floor. The present is physical. It is where you are right now. It's my hands pecking away at the keyboard. It's the nail in the wall that holds nothing. The glasses drying in the dish rack. The diffused light emanating from the clouds through the bedroom window. It is not emotional. It's not logical. It is the simplest, unavoidable reality. It is, now.
After dancing a section of choreography, he added: there is a profound emotional state that takes over when one is present. I agree with him.
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