Well, it is just to make everyone aware that the weight of the words can be sometimes scary but can take another dimension if taken from a different perspective. So by now you can figure that Katie's work is deep, intellectual, emotional, but that it actually keeps some distance with the subject, in a way that it abstracts it.
It has been exiting to follow how this research evolves from the book 'Waterland' to different possible directions and tracks to finally come back to the atmosphere described in the book. I feel grateful to have been part of this experience so far with creative dancers and choreographer.
This week has been fruitful and I think it is due to the fact that we keep possibilities open as well as narrowing down the subject, as explained earlier by Carl. We've worked on phrases linked to 'desire' and manipulated material in any way we could, making duets, quintets, assisting, resisting, taking out dancers.... and always refining the intention, always making it closer to the natural feeling coming from the dancers. So it I guess that Katie's process departs from a clear and simple idea or sometimes an intuition and searches for intentions.
I like the part where there was someone asking questions to the person manipulating the dead body. Then we found out that this person could be the 'killer's conscience'. But then how does the so-called killer react to it? Does he/she feel guilty? scared? wants to escape? You see, the scenario can change depending on what feels right and why we do what we do.
Thanks for reading and trying to understand.
Hope it is useful
|Marie and Rob improvising at LPAC|