yesterday i presented an aerial rectangle piece that i made to laura marling's itunes live version of alas i cannot swim. based on the feedback i got, i'd say this was the highlight:
maybe! i definitely want to stretch myself and use this opportunity to make something that i wouldn't be able to make on my own. but i'm not sure that this is a direction i'm actually interested in. i can't quite tell yet.
My bias is this: in a learning/school/workshop environment, if you're not sure if it's a direction you're interested in, take advantage of the resources at hand and go further in that direction. Going further down that road can only clarify things for you. (Oh, yeah, I REALLY hate this direction, and here's why / Oh, actually, with this kind of tweak, it might be fruitful thing.)
Also, this instance is tricky, because you're actually dealing with more than one question: How do I enjoy choreographing my own work? Am I adept at knowing how my choreography will be received? What kind of choreography would I choose if I were a director, on the outside looking in?
It's okay to investigate just one of those questions at a time, and put the others on hold for a moment.
Trying to get your illustrative choices to read as illustrative might be very instructive for developing an instinct about how choreography will be received. It might answer nothing on the fronts of how you enjoy choreographing, or what you would choose if you were the
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Then again, different audiences have different sensitivities. Maybe if you showed that same illustrative choreography to another audience, they'd be like, "Oh, yeah, we totally saw that as illustrative."
So another other question going on here is "How much do I want to think of this group's sensitivities as being representative of all potential audiences?"
That question is maddening and unanswerable, of course. Maybe you'll only be able to answer that in retrospect, if at all.
i actually went from the handstand into the sideways ankles (bicycle) pose :). it would be hard to reverse it cause i'd have to lift myself up with my arms, but probably doable.
i don't think i have anything useful to add (other than: you like this song; you tried out a routine and got good feedback and some things you did worked and others didn't; sounds like you're going in the right direction and should keep it up?). but i am in love with those barefoot spats! and they look fantastic with your pointed toes.
thanks, they are good-lookin', huh? they're actually hand-me-downs that are torn up and don't fit well, but new ones cost $185 (at least from the gal who made these ones). i am hoping to create an act that doesn't depend on them, but i'm not sure -- that rectangle is painful.
thanks! i am happy with the rectangle except i wish it weren't so heavy. it's going to be a pain to travel with. but i'm very glad i found a way to do a handstand on it :). still trying to get the hang of doing a croc (like on lyra).
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Also, this instance is tricky, because you're actually dealing with more than one question: How do I enjoy choreographing my own work? Am I adept at knowing how my choreography will be received? What kind of choreography would I choose if I were a director, on the outside looking in?
It's okay to investigate just one of those questions at a time, and put the others on hold for a moment.
Trying to get your illustrative choices to read as illustrative might be very instructive for developing an instinct about how choreography will be received. It might answer nothing on the fronts of how you enjoy choreographing, or what you would choose if you were the ( ... )
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So another other question going on here is "How much do I want to think of this group's sensitivities as being representative of all potential audiences?"
That question is maddening and unanswerable, of course. Maybe you'll only be able to answer that in retrospect, if at all.
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sorry that's kind of random...
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