It’s been a month now since the Pilot 61 performances. While the management process was a whirlwind, the creative process was slow, meandering, and instinctual.
For the first couple of weeks of the creative process, I went into the studio and pored over notes from 1.26 milliseconds - the original inspiration for Quake. I played with old phrases, choreographed nearly 3 years ago. New movements came into the mix.
It’s always something of an “event” for me, entering the first rehearsal with dance material - I think maybe I should “impress” dancers with that material, but more often, I need to use first rehearsals to test out vocabulary, both great and crappy, in order to know what the piece is and isn’t.
I entered our first group rehearsal with 1 minute of vocabulary, from which sprung the entire dance. I decided that some parts were “it” and “not it,” and worked simply from there.
The rule was this: If I liked something, and it felt right, it went in. After a week of rehearsing with Brittany and Daria, I made an uncharacteristic decision: I wouldn’t work on the piece at all when we weren’t rehearsing together. In fact, I didn’t blog about the process, because I wanted it to remain fresh. I didn’t want to overthink a thing.
This decision freed up my mind from the normal obsessing I do about my work - if every move is perfect, how it fits into the arc, blah blah. I went into each rehearsal with fresh eyes, ready to see the whole piece fall apart if need be. I was able to take bigger risks. It also opened my mind up to free daydreaming - which led to the roof idea, which ultimately made the piece what it was.
My dancers trusted me fully and were ready for me to work intuitively with them. Choices came easy because they happened one at a time, with me fully present and focused. In the creation of Quake, my clear directive voice emerged. Through this process, I was reminded that my instincts are good. It’s time to let go of “control.”