It helps to remember that what is seen in a small studio with green dance floor, big windows, and other distractions, with two people in rehearsal clothes, would look very different and have a commensurately different weight were it to be seen on a stage of sufficient volume to make visible the emptiness around us, and us being clad in something appropriate. Or, it helps me, anyway.
We have some stuff now. End of day four. We worked on the unshibari messy tableau, kind of a still life, or corpse-tying for some time; lso on the Japanese Kyudo/tea ceremony walking, forward and back – better in socks; and on the leg battery/repetitions. A short time on my self-bondage. There is enough now to say we’ve made a start, and to say there’s a lot missing. It’s a delicate thing, only two weeks and to wish to have something concrete by the end, though of course not finished, and yet what is lost by rushing through everything in a matter of days when months would be more suited?
What is this work then? We talked about post-modern feminism. I wasn’t sure of what a definition of this would be, though my guesses were more-or-less in accord with what I later read; I simply never described it that way. It feels slightly odd, though also it makes sense. (I remember a lecturer hawking along about Habermas and the others, Lyotard and Modernism, Late-Modernism, Post-Modern versus Postmodernism …)
We are obviously saying something about something here. If it were a performance I was making on my own, I’d likely have a text I’d be working from, whatever philosopher I was currently in bed with. Once I made only dance; I choreographed. Then came theatre until it was more-or-less performance art that I made. Lately I can only seem to do the former if I have the latter in mind. Maybe to read some theatre or a play?