If all goes well – and the DC Metro is running tomorrow – I will have the first rehearsal for my company’s next evening length show tomorrow evening. I went with F to a dinner party last night, and talked briefly with one of the guests about this: I don’t know the subject of the dance I’m starting to make. (Happy Birthday, K, and thanks for having us over.) I don’t think composers of music struggle with this issue. Even though I create “modern” work, I consider it my job to harness my dancer’s human ability toward a particular illusion. Last time I entered the studio I was working from a very narrative place.
It’s pretty easy to create compelling single images. Our world is awash with them. The craft I’m trying to embrace is the way that a moment reflects on another moment to create improbable meaning. Great story-tellers help the audience to commit to a story’s eccentricities. I’m working on my craft of – for lack of better terminology and in honor of Super Bowl Sunday – time-clock management.
Here is an excerpt – and possibly a demonstration – from the movie Fearless. In this scene the character played by Rosie Perez is about to realize that the death of her baby in a plane crash was not her fault. (She won an actor for her work in this role.) In isolation I still find the clip incredibly moving, but maybe only because I remember the prior hour of the movie.
I’m looking forward to getting back into the studio… I think I have some solid exercises prepared to get us started on the new work.