Over, under, & around


We are a week and a half into rehearsals. Movements that were new to me in the audition process–some shapes to superimpose on the body–are now becoming familiar, their method and generative force more clear. There is power in the Taylor style. The body extends beyond the physical, contracting with the abdomen perhaps yet reaching forwards with the chest, or sloughing energy as light form fingertips. I am tired but strangely there is a sense of ease in this fullness of movement, like stretching as you yawn, the body craves some extremity of expression.

The piece that we are reconstructing is more challenging than I had expected. In the old footage, the dancers are charming, funny even. The movement appears light. But putting the choreography on my body has not been easy. The shapes are frequently compressed into two dimensions. Far from feeling light, this requires stretching of odd muscles and awkward bending of limbs. The phrasing is also complex. As Ruthie describes, Paul’s counts may be square in one moment, and then counter to rhythm or melody in the next. There is breath and play within what is literal. We must think at times to go over, under, and around the music.

I am looking forward to the coming weeks. In the grand sense, I am hoping to achieve some kind of freedom in the athleticism and humanity of the style. In another sense, I just want to get my part right! To contribute to this process and enjoy as we go. Here’s to the going.