intensive week

here a log of the work we did in Germany during April. the days were very long and intense, and productive, though of course I would like to work for longer.
originally I planned to focus on the structure of the work, thinking about more complex forms of alternation/interaction between the 2 solos. in our november presentations the structure was very simple (1 solo after the other) and, after discussing the work with several people from our audience, I had in mind that it was necessary to complicate the structure and search for a more sophisticated form (composition) that would offer more options to the audience’s attention. in that same line, there was a thought to make sound and video more complex and more present in order to introduce a more concrete and recognizable context.
but: thinking things through, watching the videos and preparing for the rehearsals in Essen I had again the opposite feeling. that the work needs more simplicity and straightforwardness, less artifice, to heighten what’s really strong in it. the physical work, presence and concentration of the performers is really the core of this piece. all my attempts at layering more with video and sound felt arbitrary and forced. beyond moments in which the elements would come together satisfactorily, they would give me an overall feeling of unnecessary embellishment. it might partly be due to my lack of certain skills (particularly with sound), but I also trust the intuition that cleaning up from unnecessary elements empowers the work we have been doing with the performers bodies and minds.
through the week of work in Essen again we came back to the bareness of the 2 solos with almost no video or sound, and to the simple form of one solo after the other, with almost no overlapping. this was the result of working with the physical materials and realizing that there was still a lot to continue developing in them. first of all, the concreteness and recognizability of the sources became more apparent in the choreography. the work now includes more gestures and concrete imagination. we enriched the movement with an aspect that originally I was a bit cautious about, trying to avoid representation. now I trust that these elements which are somewhat representational (a hand or face gesture, a clear image) we are processing through our bodies in the time of the performance, and working on them with enough sophistication to produce something further than just the imitation of our sources.
also, this evolution of the materials lead to a rethinking of the structures inside the solos. they became less conventional (in november we worked with two very similar build-ups which maybe equalized too much the two solos). and this already generated a different interaction between them, even when the bigger structure seems to be almost the same.
to round it up, I am happy with the direction the work finally took. it felt organic. I feel like I’m learning to recognize what this specific process requires and to follow that logic rather than trying to impose my decisions on it. I think the materials have become more communicative. and though some people might still miss the presence of video and sound, or other elements, I trust this form brings up the sensation that there is something essential in this work. something very precious. however small and difficult and incomplete. and I trust in what this very bare work will produce.

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1 Comment»

  pimpinela wrote @

Hola Pole. Me encanta la invitacion que has mandado del espectaculo y he hecho el ejercicio de leer esta pagina aunque con una pequeña trampa porque lo he puesto a traducir pero he controlado que la traducción no es perfecta, tiene errores de interpretacion. Vos sos un poco humilde, en mi -valga la redundancia- humilde opinión. Espero que te vaya REBIEN en las presentaciones y que puedas seguir creciendo en esta investigaciòn
besitos pimpi


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