Appendix 2: Sarah Lass’s January 2017 Notes

Company “download” with Lily, Lila, Stan and Sarah Lass in background, Smith College, January 2017 | photo: Derek Fowles

Tuesday Morning 1.11.17

Syntax review:

  • Relational, relativity
  • Delivery: “[syntax] doesn’t exist without something to say”
  • “Cut to the chase”
  • Boldness to distinct actions, directness of speaking
  • A sense of “welling up”
  • Vulnerability
  • Tré/Michelle, Sarah/Darrell, Sarah/Angie
  • Paying attention to the invitation to join and the invitation to leave

Syntax duets, distinct beginning and end:

  • Angie/Darrell, Tré/Sarah, Tré/Darrell, Sarah/Michelle
    • Closing the space between people
    • Taking away the “and”; less “twining and untwining”
    • The “architecture of weight”
    • A sense that the expression is going to land somewhere
    • “Speakage”
  • Sarah/Angie, Tré/Darrell, Angie/Michelle
    • Following touch
    • Bending the form
    • Reading the literal
    • The closing of “chunky time”; compression + expansion + residue
    • The connection is not simply spatial, but fueled by other off-kilter “somethings”
    • Not about the dance of how these things come about—get to The Things
    • Connection between readability and duration
  • Tré/Angie, Michelle/Darrell, Angie/Michelle, Darrell/Bronwen, Sarah/Tré, Angie/Darrell, Sarah/Bronwen
    • Focus
      • “I am the reference”
    • “Bypassing”
    • “Carriage of connection”—states within the carriage
    • “Telling”

Capturing relationships/furthering duet moments:

  • All
  • Finding relationships where “telling” is very clear and staying with this
  • Similar to “tango” (i.e. inventory of specific intentions, attentions, relationships, etc. so it is repeatable)

Tuesday Afternoon 1.11.17

Revisiting “Joanna” material; Joanna quartets:

  • Bebe/Tré/Michelle/Darrell, Angie/Sarah/Bronwen/Michelle
    • Creates “rhythmic something”
    • Amplification
    • Directness that is very readable
    • Gets big fast
    • Movement tending to come back on itself, encouraging a shift/finding new solutions
    • “Yes, this is it.”
  • Bebe/Darrell/Michelle/Angie
    • When it’s not working, returned to “yes, this is it”; conveyer belt of yes
    • “NO MOVES”; what is the physicality of “no moves”
    • With an intention that feels like “moves”
    • Heart, brain, face emphasis as a result

No Moves trios:

  •  Bronwen/Tré/Sarah/Bebe, Darrell/Angie/Michelle
    • Lives on a spectrum between the human and physical, and where it is on the spectrum depends on viewer
    • Possibility for different focal lengths as another way in
    • The dance is in the frame of the group and the frame of the space
    • Undoing the face; dance in the rest of the body
    • Meditative quality
    • Interior landscapes, feeling, senses
    • Physicality of this goes past comfort into a different kind of intimacy
    • Very personal moments carry a history and the dance becomes about that
  • Tré/Bronwen/Angie, Michelle/Darrell/Sarah, Bebe/Sarah/Angie
    • Introducing the idea of RELEASING INTO RISK
      • Brings up the question: for the sake of what? What is the “tell”?
      • Sense of slipping around tableau
      • Getting caught in the “it is, it is, it is”; keeps re-being itself
      • Being attentive to self and The Thing without trying to create
        • Being flexible to own attention, not worrying too much about The Thing
      • “Wonderland” quality
      • “Slipping icons” and completing something for oneself
      • Trying to move with the idea of “this is not a move”
      • Testing being apart
      • Putting the weight at risk in some way and dealing with that instead of “making”

Final thought: “finding a form we don’t recognize yet”

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How Dancing is Built: The Making of "In A Rhythm" Copyright © 2018 by Bebe Miller Company. All Rights Reserved.

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