Yes, Jonathan and I did survive our 24-hour performance. We performed each hour without fail - and we only had one hour where we had no audience, but, yes, we still performed. The whole arch of the 24-hours is still fuzzy and hard to get a handle on - it is SO much information! I, and I think Jonathan, can talk about and analyze certain hours, but the whole is still hard to talk about. So, here are some impressions - even though exactly what hour things happened is not clear either...:
During one of the first hours we got into this counting game - "1, 2, 3....9) - that turned into a little "bit" that was funny. We're not usually funny - we're pretty straight up abstract post-modern dance/music guys - but, this turned into a pretty delightful performance - I mocked tap dancing and rolled my eyes at Jonathan - ever the straight man.
We had a couple stay with us from 9pm on Friday until 5am Saturday - yep, 8 straight shows. And another guy stayed from midnight until 6am. It was pretty amazing - for a number of hours they were the only 3 people present -thank goodness they were there! After a while we offered them some cookies.
Some time in the early morning - say 6am - we had a really wonderful, quiet performance. We didn't even break a sweat, but it felt really present, soft, careful (in a really good way).
At our "commissioning club brunch" we completely killed it, and ourselves. I was sweating so hard that I had to blink to keep the sweat out of my eyes. Very intense - felt ancient, deep, cathartic. And it completely whipped our butts - the next couple of hours were really hard.
In the middle of the afternoon - after some rough shows - we re dedicated ourselves to being present, to not try too hard, to fully accept that we were completely exhausted. To perform there, not from somewhere where we aren't.
Last hour was great. Of course we stepped up the energy and used every bit we had left. Used up every bit of awareness and presence that we had left. Going off stage it felt done. I certainly had nothing left to give. I can't image doing one more hour, but then again at hour 8 and hour 12 and hour 20 I felt that way as well...
In the next couple of days we'll be posting the journal that we kept during the performance - after each show one of us wrote a short blurb about the hour - should be interesting.
Thursday, July 27, 2006
Thursday, July 20, 2006
Last Chance
Last night Jonathan and I had our final rehearsal for "unmapped". It wasn't a very long, nor late rehearsal, but it felt good to push alittle bit more before we head into technical rehearsal and the show.
We began by revisiting some of the duet improvisational structures to remind us of keeping that connection, of deepening that communication and continually expanding our possibilities together. The first exercise that we did was a simple finger-to-finger following game - both people touch index fingers (ala "E.T"), close their eyes, and then follow what the other person is doing. Now, I know it sounds like nothing would happen if both people follow and no one leads, but, actually, alot happens when you can be sensitive enough to your partner's movement. It is almost impossible to be still - certainly impossible to be still for more than a couple of seconds. As soon as one person shifts their weight alittle bit, or lets their arm relax slightly, or takes a breath, there is movement and something to follow. And then the following becomes the leading and you're off. It is an exercise we've done a number of times because it really helps you focus and center. The next exercise we did I recently learned from Carol Swann in California - it consist of one person making contact with their partner in a very specific way - squeezing, or lots of fast little taps all over the body, or long brushing movements - then the person who was just touched moves in reaction to the touch. This tactile input is a great way to get out of habitual ways of moving - to shift the quality of your movement. The final exercise we did had one person moving and the other person pushing into their partner with different amounts of force. When the moving person felt the force they had options to push back, resist or to yield to the push. Again, another way of getting out of habitual ways of moving because you are getting this constant tactile input that changes what you're doing. It is also another way to connect between dancers - it is almost like an experiment, 'if I push this hard, how will he respond?'
I think taking some time with these small exercises was really good for us, I think it set us up for a really wonderful run of the piece. During the run it felt like both Jonathan and I really made some clear, direct choices that seemed to flow directly from what we were doing. At one point we were on opposites side of the stage, just after we had been passing the guitar back and forth between us, and as I turned to face Jonathan he was bending over playing the guitar - at that moment it just seemed clear that he was going to have a solo so I went back to the stool and sat down and watched him play for alittle while. Later in the piece Jonathan really saved me as I went into my solo - I was playing the guitar as it was lying on the stool and I just made some not-so-great choices with the sound, but he was at the control box and was able to manipulate what I was playing into this really lovely loop that felt very supportive as I went into my dancing solo - thank goodness he was there or I would have been stuck with some junk to dance with! The run ended with Jonathan dancing and I playing the guitar - I think the warm up exercises really helped because he seemed to be dancing very fully and intentionally. And, afterwards he said that what I played was really good as well - that was nice to hear. : )
Tomorrow morning we go into the technical rehearsal, then I come home and take a nap and then head back the theater and start this crazy thing. If you're around it would be great to see you there, if you're not, wish us luck...
We began by revisiting some of the duet improvisational structures to remind us of keeping that connection, of deepening that communication and continually expanding our possibilities together. The first exercise that we did was a simple finger-to-finger following game - both people touch index fingers (ala "E.T"), close their eyes, and then follow what the other person is doing. Now, I know it sounds like nothing would happen if both people follow and no one leads, but, actually, alot happens when you can be sensitive enough to your partner's movement. It is almost impossible to be still - certainly impossible to be still for more than a couple of seconds. As soon as one person shifts their weight alittle bit, or lets their arm relax slightly, or takes a breath, there is movement and something to follow. And then the following becomes the leading and you're off. It is an exercise we've done a number of times because it really helps you focus and center. The next exercise we did I recently learned from Carol Swann in California - it consist of one person making contact with their partner in a very specific way - squeezing, or lots of fast little taps all over the body, or long brushing movements - then the person who was just touched moves in reaction to the touch. This tactile input is a great way to get out of habitual ways of moving - to shift the quality of your movement. The final exercise we did had one person moving and the other person pushing into their partner with different amounts of force. When the moving person felt the force they had options to push back, resist or to yield to the push. Again, another way of getting out of habitual ways of moving because you are getting this constant tactile input that changes what you're doing. It is also another way to connect between dancers - it is almost like an experiment, 'if I push this hard, how will he respond?'
I think taking some time with these small exercises was really good for us, I think it set us up for a really wonderful run of the piece. During the run it felt like both Jonathan and I really made some clear, direct choices that seemed to flow directly from what we were doing. At one point we were on opposites side of the stage, just after we had been passing the guitar back and forth between us, and as I turned to face Jonathan he was bending over playing the guitar - at that moment it just seemed clear that he was going to have a solo so I went back to the stool and sat down and watched him play for alittle while. Later in the piece Jonathan really saved me as I went into my solo - I was playing the guitar as it was lying on the stool and I just made some not-so-great choices with the sound, but he was at the control box and was able to manipulate what I was playing into this really lovely loop that felt very supportive as I went into my dancing solo - thank goodness he was there or I would have been stuck with some junk to dance with! The run ended with Jonathan dancing and I playing the guitar - I think the warm up exercises really helped because he seemed to be dancing very fully and intentionally. And, afterwards he said that what I played was really good as well - that was nice to hear. : )
Tomorrow morning we go into the technical rehearsal, then I come home and take a nap and then head back the theater and start this crazy thing. If you're around it would be great to see you there, if you're not, wish us luck...
Tuesday, July 18, 2006
But a Ticket!
As you know, Jonathan Matis and I are putting on a big show this weekend. we'll be getting down and performing improvised dance and music for 24 hours. Crazy.
It's part of the Fringe Festival and it's going to be a wild time. If you haven't been keeping up please read the posts below or you click-thru to our spiffy web page that has loads of info about the show – including an interview with the two of us, photos, and more.
http://improvarts.alkem.org/unmapped
The schedule and ticketing is a little confusing – so here's how it's going to work:
The show starts at 9pm on Friday night. Each performance will last between 30 and 45 minutes. Then we get a little break. Then we do it again – starting at the top of every hour. So there's another show at 10pm., another one at 11pm, and so on – you get the idea. That means there's a show at 6am on Saturday, and at 7am, and so on – all day long! So I'm SURE there's a time when you can come see the show. Come see us late-night when the bars close on Friday night. Come see us at sunrise on Saturday morning. See us at lunchtime Saturday. See us at tea time Saturday. Whenever. There's a show time that's right for you!
If you want to see any show during hours 1 through 23 – just buy one ticket and come back as often as you'd like – to any show during the 1st 23 hours. If you want to see the final show, when we're delirious and insane, you have to buy a special ticket for 8pm on Saturday night.
The performance is on the main stage at the Warehouse Theater. 1021 7th Street, NW, Washington DC. Easy to get to by metro: Mt. Vernon Square / Convention Center stop is a block away. Gallery Place is a short walk.
Now about the tickets… You can buy tickets at the door before each performance. Or, you can buy tickets in advance at the Fringe Festival Box office (conveniently located at Warehouse Theater), or you can be totally high-tech and buy tickets online.
The Fringe festival is doing all the ticketing and our 24 hour performance doesn't fit their system too well… so here's what you do to buy them online:
click here to get to our page in the online ticketing system:
http://www.theatermania.com/content/show.cfm/show/122042
then click the big red button that says "buy tickets online"
then – for any shows starting between 9pm on Friday and 7pm on Saturday, choose "9pm on Friday, July 21." That ticket is good for any shows during hours 1 through 23.
If you want to buy advance tickets for the final show, click on the "8pm on Saturday, July 22."
It's strange that the ticketing website only shows two shows… but we don't have any control over how that's set up. So we hope that's not too confusing… and please help spread the word. The Fringe Guide also doesn't really list our show clearly as every hour, on the hour – but now that you understand you can help eradicate confusion and send lots of people our way (please). We really gotta sell a lot of tickets to break even on this show…
Thanks so much for reading all this – we can't wait to see you at the show!
Daniel Burkholder
Director, The PlayGround
Co-Director, Improv Arts
Blog: http://improvarts.blogspot.com/
http://improvarts.alkem.org
www.myspace.com/improvarts
http://people.tribe.net/improvarts
Friday, July 14, 2006
Late Nights
On Wednesday night Jonathan and I had a late night rehearsal - not as late as it will be when we perform, but certainly later than we normally rehearse. Our first run of the work started at 10:30pm and we were in the studio until almost 1:30am. It was good to feel what it is like to start a run of the work that late. The effort to get the energy up, focused, and to stay present throughout the work is different than it is at 4 o'clock in the afternoon. There is only you to keep your energy up, the rest of the city is going to sleep and there aren't other people in the studio, or alot of traffic on the street, it is just you and studio. In some ways that creates a nice spaciousness - no competition - but, also a certain aloneness.
We ran the work 3 times and each time was very different. The first time there were other people rehearsing in the studio next door - some hip hoppers - so, that was alittle strange competing with hip hop music. It brought out alittle breakin' in my dancing - very strange, odd breakin' - which I think was fine. Our work is alittle out there and anything that makes it alittle more out there works. Since we're really going into each run of the work with all possibilities possible, there is really nothing off limits. Of course, we need to make sure whatever we do fits in with the development of the work. But, alittle odd breakin' works just fine... if it works just fine, that is...
We have a couple of more rehearsals over the next week to get ready for the performance next Friday (July 21-22, 2006), including a 5 hour rehearsal on Sunday. Hopefully having a longer rehearsal will give us some more insights for the upcoming performance.
We're in the home stretch now....
We ran the work 3 times and each time was very different. The first time there were other people rehearsing in the studio next door - some hip hoppers - so, that was alittle strange competing with hip hop music. It brought out alittle breakin' in my dancing - very strange, odd breakin' - which I think was fine. Our work is alittle out there and anything that makes it alittle more out there works. Since we're really going into each run of the work with all possibilities possible, there is really nothing off limits. Of course, we need to make sure whatever we do fits in with the development of the work. But, alittle odd breakin' works just fine... if it works just fine, that is...
We have a couple of more rehearsals over the next week to get ready for the performance next Friday (July 21-22, 2006), including a 5 hour rehearsal on Sunday. Hopefully having a longer rehearsal will give us some more insights for the upcoming performance.
We're in the home stretch now....
Monday, July 10, 2006
unmapping unmapped
Since my last post regarding "unmapped" I've spent a week in the Bay Area attending and teaching at the West Coast Contact Improvisation Festival (www.wccif.com), which was wonderful! I was doing Contact Improvisation from 9:30am until almost 1am every day. Exhilarating and exhausting!
But, now I've gotten back and Jonathan and I have had two rehearsals and are moving along. On one of my many hour-ed flights across the country I realized that what Jonathan and I have been doing is mapping our territory. What I mean is, that in our exploration to expand out existing roles, to break down our assumptions about who we are as performers, we've been creating another kind of map. Yes, an expanded map, but a map, never the less. And it seems to me that now is the time to throw that aside and truly step into the unknown with each run of the work. It is as if we have been exploring the territory that we will inhibit and creating a map of possibilities - now we know the territory enough so we can throw away the map and deepen our exploration. Additionally, Jonathan that the idea that we should start each performance in our traditional roles (he playing guitar and me dancing), to give the audience a reference point for when we venture out into the new possibilities. He agreed with me, I agreed with him. So, now we are starting in our new roles and then.... we'll see what happens each time.
The one thing that we haven't changed is that we are still going to have a word, or phrase, or photo to serve as a starting point for each performance. Since it will point our way through the performance - influencing our movement, sound and interaction choices - we are calling it our "compass". That then means that we are starting each performance only knowing what our compass is and that we start in our traditional roles. The rest is left to the improvisational moment.
But, now I've gotten back and Jonathan and I have had two rehearsals and are moving along. On one of my many hour-ed flights across the country I realized that what Jonathan and I have been doing is mapping our territory. What I mean is, that in our exploration to expand out existing roles, to break down our assumptions about who we are as performers, we've been creating another kind of map. Yes, an expanded map, but a map, never the less. And it seems to me that now is the time to throw that aside and truly step into the unknown with each run of the work. It is as if we have been exploring the territory that we will inhibit and creating a map of possibilities - now we know the territory enough so we can throw away the map and deepen our exploration. Additionally, Jonathan that the idea that we should start each performance in our traditional roles (he playing guitar and me dancing), to give the audience a reference point for when we venture out into the new possibilities. He agreed with me, I agreed with him. So, now we are starting in our new roles and then.... we'll see what happens each time.
The one thing that we haven't changed is that we are still going to have a word, or phrase, or photo to serve as a starting point for each performance. Since it will point our way through the performance - influencing our movement, sound and interaction choices - we are calling it our "compass". That then means that we are starting each performance only knowing what our compass is and that we start in our traditional roles. The rest is left to the improvisational moment.
Saturday, July 08, 2006
Podcast about unmapped
Jonathan and I have recorded a podcast about our upcoming 24-hour performance - "unmapped" - that will happen as part of the Capital Fringe Festival.
If you want to find out more about this performance you can listen to the podcast at
http://improvarts.alkem.org/unmapped .
If you want to find out more about this performance you can listen to the podcast at
http://improvarts.alkem.org/unmapped .
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