Both Steinvor and Matthew added endings to their contributions Friday
morning. Steinvor's refers back to the beginning, creating a cyclical
feel to the solo. Matthew added a one-minute stillness and then a sort of
dissolution of the costume and the character that had evolved over the
course of the solo; his prompt to me for the final moment was that I am contemplating the space, as if thinking of a new beginning or starting a new adventure.
I then worked with Bill for about an hour or so while Susan Hays took photos. After a short break, we did the showing for approximately 50 attentive and appreciative spectators. The feedback touched on the notion of distance (not only spatial, but also temporal), how the costume for Matthew's part came into being, and how I will join all the various parts together (still to be determined).
I then worked with Bill for about an hour or so while Susan Hays took photos. After a short break, we did the showing for approximately 50 attentive and appreciative spectators. The feedback touched on the notion of distance (not only spatial, but also temporal), how the costume for Matthew's part came into being, and how I will join all the various parts together (still to be determined).
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| Choreography: Steinvor Palsson |
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| Choreography: Steinvor Palsson |
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| Choreography: Matthew Hawkins |
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| Matthew Hawkins and I rehearse an arm pattern |
rehearsal photos by Susan Hays
After the showing and feedback, a group of us went out for drinks and dinner.
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| From left: Matthew Hawkins, Debbie Watson, Ian Spink, Stella, Bill Thompson, Skye Reynolds, Steve Kettley, Steinvor Pallson, Helena Palsson, Sheila McDougall, Alan Gregg |
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