the n+2 dimensional space for n>1 — day 7

The first day returning after (most of) one day off, and ten hours rotating between studio and kitchen with a string of meetings to remind that it’s the end which is looming. To begin, a cup of tea and one and an half hours talking about what we needed to do; all quite practical, from the production elements – lighting, sound, videoing – to what we would get through today in rehearsal.

After some scruffing around it was already midday, so we warmed our ligaments and bones for an hour and were about to begin beating up on some ropes when Silvano arrived. By the time he’d departed most of the day’s first meeting questions had been sorted out, an incomprehensibly rough lighting plan scribbled together (we hope for absence of rain, hail, snow, general wetness on Friday), and it was two o’clock without a single leg having been swung.

The rope beating/flailing idea, which has gone through three iterations now, arriving somewhat back where it started, has possibly become what it will generally resemble on Friday. If I could make a more qualified statement emphasising the complete lack of certainty, I would. Our right hips get quite battered, so we thought we’d warm up next by doing it on the other leg also.

For music, we try André Jolivet’s Pastorales de Noël for Flute, Harp and Bassoon once more, occasionally underlaying Throbbing Gristle to fill it out somewhat. Music has been a peculiar problem for these days; something that deserves more time to attend to, but also keeps getting pushed to one side.

Two hours later, we pause for a late lunch, before I wander off into some self-bondage of an especially disorderly type. Dasniya hangs herself by the neck, and so we move erratically through our day’s list.

I had an idea last night, that I thought could fix, or return to something we’d worked on last week that hadn’t been so successful. We’d been trying to make some kind of movement from knot theory tables, but it looked kind of empty. It seemed to me that if there was a need for movement as movement, it already existed in the tying of someone. Remove the rope and the other person (and either blindfold oneself, or close one’s eyes), and restage the process of tying a Takatekote or Teppo or suspension, and it’s possible there would be the foundations for movement (or to call it dance). This, as with the next project, seemed to have something in it.

Approaching tiredness, the final idea we worked on was something of room installation bondage tying rope-knot mess. I’d also been thinking about untying – possibly one of the rings with all the leftover ropes attached. Our studio has a terrace with a glass door leading to it at the far, southern-ish end. It’s large enough to work on, and so it seems we may be splitting ourselves here; one to tie all the ropes together, the other to untie what was removed.

And so, we now have six or seven small scenes somewhat connected, overlapping each other, certainly unfinished and needing the coming days to make sense of, elaborate upon, find each other in. There are one or two (or three) more we have yet to reach, which may have to wait for the next rehearsals, though it would be good to find time for these also. No pictures again, and words that are mostly descriptive of what we did, missing all the in-betweens, the talking back and forth, worrying at ideas, finding things, breathing rope dust.