Vicky and I got to Cora Kempermann, the shop of the Belgian designer with fashion forward garb in a rainbow of deep jewel colors. Vick tried on assymmetrical tops and kept readjusting them to straighten them out. I put on a red dress, like a smock or kurta and Vick was so wildly enthuisastic that I couldn't say no. It was 1/2 price. Pictured here in our great rehearsal space.
Last night, Vicky and I strolled around a bustling Friday night Arnhem, then went to a silly movie, perhaps to escape the sense of our entire beings being consumed by the awkwardly growing piece. Yesterday when we ran the first “score” (mine, put together with chance procedures) it was messy, disembodied, unfulfilled, and arbitrary. BUT we found out that:
we need more trios as opposed to solos/duets (Vick envisions a high octane mercilessly repeating one)
we need more clarity about which aspects of particular sections are the tiny adjustments that make them work, like sitting on a chair as opposed to on the floor
we want more phrases and set choreography (nice to have an appetite now for that!)
we like having sections recur, sometimes with different personnel
There are a set of underlying motifs: beauty & vanity & strength / disintegration, small domestic arena/bigger world. These continuums suggest more image-metaphors…
we need more trios as opposed to solos/duets (Vick envisions a high octane mercilessly repeating one)
we need more clarity about which aspects of particular sections are the tiny adjustments that make them work, like sitting on a chair as opposed to on the floor
we want more phrases and set choreography (nice to have an appetite now for that!)
we like having sections recur, sometimes with different personnel
There are a set of underlying motifs: beauty & vanity & strength / disintegration, small domestic arena/bigger world. These continuums suggest more image-metaphors…
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