Monday – Ann, Deborah, Susie and Jennifer working on the Bach joined by Dave, production manager, Malcolm designer, Martha, maker.
This is an important day regarding decisions about the structure of the whole evening. We start by warming up together – the equivalent of ballet class: we share the space and concentration on the body/mind but our practices are individual and draw on a mix of somatic, Eastern meditative and ballet rituals. This hour is effective in drawing us together as a group whilst establishing our differences – and had become routine during our the South Bank Centre Research with Ann’s team in From here to maturity in 2010. I want to weave in elements from 2010; the dynamic is re-made, both in the present moment and in that 2 out of the 5 dancers are new to the project.
The ground for making this work is quite distinct from the previous 2 weeks with Susie and the musicians – which was characterized by a free exploration of a set of ideas from which we develop a structure. This work requires considered relationship to given structures – the Bach, previous choreography and also the embodied dance over time of each dancer which constitutes a kind of ‘text’ from which we are making this new dance.
Malcolm and Martha arrive at 3.15 to fit us into the ready-mades –weaving the everyday into this extra-ordinary event of our continuing dance practice. Malcolm is a step ahead of me; he produces quite different ideas for each of the pieces. The life of colour for one and the transparency of blacks for the other. Ah – initially I struggle to ‘feel’ the fit of it, but when we visit the theatre space to discuss seating and positioning of musicians it is clearer and the structure of the evening begins to take shape. There will be 2 distinct parts to this programme – dancing the invisible is the Bach and Late Work is the exploration of improvisation. The question of how ‘verbal’ discussion with audience will be integrated into the dance event remains unresolved for now …