• Four-minute Dance Solo, embodying several qualities that don't come naturally to me, to music from The Bourne Identity;• Short scene from 'Tis Pity She's a Whore in a found space, a well-lit corner in a much used stairwell;• The Messenger speech from Oedipus at Colonus, done as a stylistic 'shmear' of 18th-century and naturalism, with 23 specific moves thrown in, e.g., smiting the gods, real laughter, real tears, smiting the castle, a marshal arts move, etc.;• Creon in a two person scene from Medea in another stylistic "shmear;"• original choreography of a scene utilizing the theme of "light and shadow," in which two actors wear fencing masks with lights where their mouths should have been and fall in love across a table to a musical passage from Vagabound Opera;• original choreography of a short scene to music by John Hiatt; and• performing in choreography by a classmate in a scene depicting several Shel Silverstein poems for children.There were others, but these were the ones that stayed in my body. I"m finding the 'Greek Shmear" particularly useful for Malvolio.
Wednesday, July 08, 2009
Looking Back at Recent Training....
.... Movement pieces I did in grad school that I'm glad to have done: