Tif Bullard: 2009-2010 LinkUP Residency

Studio Report: 3.24.2010

2010-03-24T20:05:00.000-05:00

Studio Report: Wednesday, March 24, 2010

12:00 - 3:00 PM

Present: Tif, Truman & Dex

12:00 - 1:30

Work songs

Set up, etc.

1:30 - 2:45

Run

Notes

Work anything else

Discuss

2:45 - 3:00

Strike

Introspection

Song is getting there, wee! Best run ever. Truman finally got to see the show in it's full concoction and is making connections to the songs left and right. He gets it! Yes! He's very proud of the show, as we all are. I nearly cried at the end of the run today it felt so good to have it down. Still needs some more relaxation and polishing, but it was pretty much show ready.

Tonight, pizza party to relax and celebrate.

To Do 3.24.2010:

Finish valance

Studio Report: 3.23.2010

2010-03-23T23:58:00.000-05:00

Studio Report: Tuesday, March 23, 2010

1:00 - 4:00 PM & 8:00 - 11:00 PM tech

Present: Tif, Truman, & Dex (and Rachel for evening tech)

1:00 - 2:30

Work songs

2:30 - 2:45

Tif freaks out a bit

2:45 - 3:45

Run

Notes

3:45 - 4:00

Songs

Introspection

The songs sound fantastic on the harpsichord and Truman and I worked together to get GBIW set to the right type of music. I am still fumbling a bit on the songs and can't really justify singing them out loud very loudly with confidence and I'm still a bit stuck on some choices, etc. Run went well, very well. Truman transposed MSTAID in the office while Dex & I did run. I freaked out (not a freak out, really) in that I'm making a choice and burst out laughing that the choices I made are some pretty out there choices and just before run I realized this and talked myself back into being okay with being exposed. Post run: Truman transposed the song and it's so smooth and I just need to get it down more.

At tech, it was so smooth. Rachel is a master. Dex, Rachel, and I considered some lighting looks and Dex stepped in for me at times so I could see what the look of the show was like - very nice, clean, still shadowy but lighted enough to see so nobody should complain (haha). Quick tech, didn't even do a run through as I was fine with our choices and would rather use time in space (after Rachel went home) to run MSTAID a bunch of times until the end of the night where I couldn't take it anymore with singing. A fun, relaxed evening.

To Do 3.23.2010:

Make valance

SONGS!

Studio Report: 3.22.10

2010-03-22T22:52:00.000-05:00

Studio Report: Monday, March 22, 2010

5:00 - 8:30 PM @ TTS

Present: Tif, Truman, and Dex

5:00 - 8:30

Work songs

Learn songs

Introspection

I've got a lot cut out for me in regards to these songs. Truman did a spectacular job, but sadly I'm not a warbly soprano and he had to transpose the final song into my range. Still beautiful, but that means 2 hours of work for poor Truman. We worked on piano so tomorrow will be our first time with Harpsichord with the songs.

To Do 3.21.10:

Work on songs

Studio Report: 3.21.10

2010-03-21T23:55:00.000-05:00

Studio Report: Sunday, March 21, 2010

6:30 - 8:30 PM @ TTS

Present: Tif (Dex 7:30 - 8:30)

6:30 - 7:30

Solving

Text work

Firming up any questions

Adding details

7:30 - 8:30

Run

Notes

Introspection

The show is now coming together in a way that is more concentrated. I had a minor memory blub in Clock Dance, but there are still parts that are solid for me and other parts that don't feel totally authentic yet. I guess I need props now and without these here, miming things make it seems fake anyway so I don't blame myself. Can't wait to hear the songs tomorrow on piano! Truman comes into Chicago tomorrow! He drove all the way from Pennsylvania to do this with me and I'm so grateful!

To D0 3.21.2010:

Rest up.

White Ghost is Home

2010-03-20T19:47:00.001-05:00

White Ghost the harpsichord is home! Living in our living room. No complaints and resting in its own wirelike wooden fashion. What fun it will to bring him to Links Hall and hear Truman play it. I cannot wait! It's going to be outrageous. White ghost is so simply beautiful. What a treasure. What a treat.

And can I just say he comes from a good home. Andy Cohen from Andy's Music Rentals is about the ultimate friendliest, customer-service driven, knowledgeable, agreeable, amazing person. If you're ever planning on ever renting any sort of instrument, I highly recommend this place. Very thorough. Very reasonable in price. Very fantastic instrument quality. I am fortunate to have him intersect with my process during this residency. I've rented from Andy's before during my show, echo chamber, but running into him personally has been a great experience.

Studio Report: 3.19.2010

2010-03-19T22:51:00.000-05:00

Studio Report: Friday, March 19, 2010

6:00 – 7:15 PM @ TTS

Present: Tif & Dex

6:00 – 7:15

Warm-up

Run show

Notes

Discuss Edits

Discuss To Do

Introspection

During tonight's rehearsal I was starving. Low blood sugar, but an all around good run. These runs I've been doing are not full out in the way I would for a show because I'm just like that as an actor. I find it silly to expend tons of energy for just Dex in the room. However, this will change on Sunday and throughout. It's not that I'm marking, but I'm not fully engaged in all areas of the show, I'll let my body take over and sometimes things will be quite intense. Regardless, this run was focused and Clock Dance (as mentioned by Dex) was the best he's seen it thus far so improvements are being made. Vignette run times have been quite consistent and we predict the show to be about 40 minutes long. However, these timings might change mere minutes when Truman steps in on harpsichord. Looking forward...

To Do 3.19.2010:

Pick up harpsichord on Saturday

Sew drapes & Grommet

Run to do list at Home Depot, Target, and JoAnn Fabrics

Studio Report: 3.17.2010

2010-03-17T23:40:00.002-05:00

Studio Report: Wednesday, March 17, 2010

1:30 PM – 5:00 PM

Present: Tif & Dex (2:15 - 5:00)

1:30 - 2:15

Tif only: Run & Work text

2:15 – 3:30

Run with Stop & Starts

3:30 - 3:45

Notes, Ideas, Edits, Get into Costume

3:45 - 4:30

Run no stops

Decide on Mourning Walk

4:30 – 5:00

Notes, Ideas, Edits, Get out of Costume, Cleanup

Introspection

Good but un-concentrated first run. Good pretty focused second run. I still need to get Clock Dance into muscle memory as Minute wheel forwards & backwards continues to confuse me a bit. Also, since we just worked on the blocking of Mourning Walk, will have to get this new choreography (small, but new) into my body. I still need to focus on the text of 3am as well. Overall, am in a good place. Keeping regular time with all sequences. Things are well and good. Love my costume!

Also, tonight I wrote My Soul's Thralldom so the entire show is written. Truman will be writing the entire song (minus the words) for this piece. Very excited to see what he comes up with next week!

To Do 3.17.2010:

Tomorrow, work on sewing facings & drapes

Trying to be as ugly as possible.

2010-03-17T20:55:00.000-05:00

Here's a sneak peak at me messing around during rehearsal in my costume. [AKA me wasting time because I don't want to do a run.]

Here's me doing a buck-toothed corseted flamingo. Please note I am purposely trying to get facially uglier as the shoot progresses. The uglier I become, the more time wasted so I don't have to muster up the energy for another run.

And, here's me doing my best impression of a one-eyed, rabbit-toothed ghost medium.

Studio Report: 3.16.2010

2010-03-16T18:20:00.003-05:00

Studio Report: March 16, 2010

1:30 PM – 4:30 PM

Present: Tif

1:30 - 2:15

Drill all text material with no action or blocking.

2:15 - 3:00

Work chunks of show

Over and over again.

Work on lacing boots

3:00 - 4:30

Work larger chunks of show

Over and over again.

Introspection

I think the only text that is holding me back a tiny bit is 3am. It requires a lot of concentration, changes in partner, and changes in state for me as a performer. I have laced my boots over 20 times in rehearsal today and solidified this action during Girl Burned in Water. I drilled the text today like a mad woman. Freaky thing happened: Links always has phantom creeks and since it's changing temperature outside, it will make more of these phantom creeks over the next few weeks (very in my favor). However, I just wrote a blog post on Nobody Dances Here about the Ganzfeld and my fear that maybe, in the performance moment, will conjure some sort of spirit energy. One would only hope, right?! Anyway, I got to the point in the text where it started to feel real, and the creeks in the room began to get my nerves going. They were coming from the place where in the text I speak about them coming from, it was like a soundtrack was created - I got freaked and started laughing at myself. I called my mom to joke with her about it. She was freaked out. It was funny.

Overall, great drills today. Great.

To Do 3.16.2010:

Drapes

Studio Report: 3.15.2010 & Feedback Session Introspection

2010-03-15T20:53:00.002-05:00

Studio Report: Monday, March 15, 2010

12:30 PM - 3:30 PM

Present: Tif & Dex

12:30 - 2:00

Measure Drapes

Mark Measurements of Drapes on Fabric

Cut Fabric for Drapes

2:00 - 3:30

Work & Run CW - CD

Introspection

Measuring & cutting drapes too far longer than we expected (about 30 minutes more), but Dex and I were both very low energy from the time change, staying up too late finishing up some things, and last night's intense rehearsal. However, I think our carefulness while doing the measuring will pay off and we won't have to re-do anything in regards to the drapes.

Worked Continuous Winter to Clock Dance and drilled & blocked 3am.

Talked to Erica after rehearsal regarding the talk-back/feedback session and lost my battle of going on Sunday. It was originally scheduled for Saturday, but was cancelled due to Links believing there will be a turnout problem due to another event happening on the same day. I feel that our event is equally compelling and should get the people there on Saturday that choose to be with us on Saturday; I find their feedback as valuable as any - and if not more fo choosing us over the other event, perhaps! Turns out Ginger's team prefers Friday, I prefer Sunday. They are many. I am one. I gave in. I was kindly offered to receive no feedback on Friday and have a special session on Sunday, but I find that silly - (generous), but silly. It would be awkward for me to say, "I don't want you to comment on my work." It just feels wrong, and distasteful. There are several reasons why I think Friday's feedback will be ineffective. 1.) I will have just had a very, long intense week and want to celebrate getting the show opened. I'd like to relax and enjoy the party afterwards alongside casual comments from audience members. 2.) It's my birthday. I would have wished to be home by 11pm that evening to have some cake and celebrate privately with all of the family that will be in town for my birthday & my show. This creates a conflict and I foresee me not being able to do this and since it's celebrating my last birthday in my 20's, I find it very momentous. Birthdays are very important to me. 3.) Not having more than 1 show under my belt, I won't be able to confidently reflect & respond to the feedback/questions/comments. It would be much more beneficial to have a contrast/comparison between the evenings to see if my observation is true. No real observations about the show as a whole can be made after just one performance. It will grow on Saturday & Sunday. 4.) If someone takes the conversation south for Ginger, Me (or Both of us), I guarantee it will make the refreshment/party sense of it awkward. 5.) People may not stay for the refreshments because they may not be interested in staying that much longer to wait for the feedback session (should they wish not to participate). 6.) If I get the same comment on an aspect of the show, it will be more difficult for me to concentrate when getting to that part in the show later in the run because I'll be self-conscious of it due to the concentrated feedback. 7.) Having a feedback session on Sunday would allow me to reflect on the entirety of the show. Since, in this setting, we are expected to evaluate our progress & process, Friday's feedback session will be far from my mind once the show is over on Sunday.

I'm never big on post-show discussions after a performance I consider complete because there isn't much I can/will/want to change at this point. I figure, I've been in studio for 6 months, whatever decisions I've made at this point I'm pretty confident about, I'm pretty happy with, and have had ample time to consider. You can't please everyone, and sometimes I think this reflection needs to be done at home, at the breakfast table over a bowl of oatmeal. I believe I as a performer can feel if the audience is with me, and when they're not, I go home and think about this. And it's not always me - sometimes it's just the room, the energy, the day - and it collectively builds to something the performer can't control. With this show I am asking a lot of audience - their concentration & extended belief. If they're willing to ride with me, I'll be able to feel it. I don't need someone to tell me this or confirm this after the show. It's like coming out of a trance while on the dancefloor. You don't want a video of you dancing like crazy to remember it or to prove if you were really dancing, you just want to take away what you felt and leave it there.

To Do 3.15.2010:

Chemise!

While I've got at least 7 valuable reasons as to why I don't prefer Friday, but I'll go along and will have to come in with a bit of a filter.

Studio Report: 3.14.2010

2010-03-14T23:05:00.000-05:00

Studio Report: March 14, 2010

6:00 PM – 8:20 PM @ TTS

Present: Tif & Dex

6:00 – 8:20 PM

Work entire show minus first & last vignettes.

Run & Work show in chunks and then as a whole

Introspection

Prior to rehearsal, Dex and I chatted about the furniture set pieces, and I tried out Dipth in the rocking chair and it's a go. It felt like it really activated the pelvis area, and what I liked best about it was that it is so low to the ground and appears iconic and timeless. We are also choosing to use the sewing table passed down from Dexter's mother from generations of sewers, and my great grandmother's lamp. Oh, and the rocking chair is also an heirloom piece from Dex's family.

This show is a complete mind body work out. Take that Denise Austin! It works every single part of me, even when I'm not going full-out, it just taps into every ounce of concentration & precision possible. It's absolutely fantastic having Dex in rehearsal with me. He's great at getting down to business and drilling me, making honest suggestions on direction, and it's great to discuss some editing concerns I have since I am a fan of editing 3am to the most important aspects. I don't think this should could be anything with out him. Sadly, he won't take a directing credit because in all honesty he says that it's my work and he's coming in to help shape it. It's like having a personal trainer come in and just go all boot camp on you...you take things more seriously and push yourself more when you know you've got a set amount of time with someone who's willing to help make you the best you.

It finally feels like I'm getting somewhere and I couldn't feel more relieved about it actually being made into something in 12 days...but there IS A LOT OF WORK AHEAD. I still have to find the words for the final song, decide on how the chorus of GBIW goes, and decide how the clothing works into all these segments. Still have to finish off the chemise, but other than that the costume should be ready on Wednesday to incorporate them into the show.

To Do 3.14.2010:

Bring upholstery fabric & sewing notions to Links Hall for cutting drapes

Reprint out edits of 3am

Detail of Double Escapement @ Links Hall 3/26,27,28

2010-03-13T12:10:00.003-06:00

Detail of Double Escapement

a Performance by Tif Bullard

An arresting action and song cycle that explores the inner-workings of a haunted woman and the time she has lost, performed through choreography, spoken text, and original song accompanied by live harpsichord. The piece re-codifies samples from resources including Victorian mourning practices, the Spiritualist movement, clock mechanics, paranormal television shows, YouTube home videos, Janet Jackson, Kate Bush, writings of Ben Marcus, and the films The Snake Pit and Dancer in the Dark.

Friday, MARCH 26th 8pm *includes post-show reception
Saturday, MARCH 27th 8pm
Sunday, MARCH 28th 7pm

at LINKS HALL Chicago
3435 N. Sheffield Ave.
www.brownpapertickets.com/event/93589
Tickets $15 / $10 Students & Unemployed

with Live Harpsichord Accompaniment by Truman Bullard

A presentation of the 2009/2010 LinkUP Residency – a six-month residency that supports independent artists and collaborations in the research and development of new innovative work in their movement based practices. www.linkshall.org

For More Information:
www.tifbullard.com
www.tifbullardlinkup.blogspot.com
www.youtube.com/tifbullard

Studio Report: 3.12.2010

2010-03-12T23:19:00.000-06:00

Studio Report: Friday, March 12, 2010

6:15 PM - 7:45 PM @ TTS

Present: Tif & Dex

6:15 - 7:45 PM

Review all material once

Introspection

Today's mini rehearsal was a bit plagued by low attention span (I'd been sewing straight through since 11:30 am!) and low blood sugar. But, regardless - got through all pieces. 3am's memorization flew out the window and must concentrate on this piece of text. The whole purpose was to go in and get a few bad runs of each piece out so this weekend's rehearsals don't waste time. Luckily, Dex will be with me most of the week to come! Very good to have someone in studio with me and directing me. It's very needed now.

To Do: 3.12.2010:

E-blast

Facebook Event

Edit Promo

Collect sound from sewing machine & electric clock for Promo

Continue Sewing Chemise

Studio Report: 3.10.10

2010-03-10T17:13:00.000-06:00

Studio Report: Wednesday, March 10, 2010

11:00 AM – 2:00 PM

Present: Tif

11:00 - 12:15

Review Clock Dance

12:15 - 1:30

Memorize, recite, review all text for piece:

FVOO

HW/KT

3AM

GBIW

1:30 - 2:00

Review Dipth with video & rehearse

Introspection

Today's review session was helpful. I'm doing my best to get into very specific details so these decisions are made and don't clog my mind when I'm mid-process of runs & rehearsals. My memorization of GBIW was terrific and am considering just singing the chorus and using the words spoken almost as a mantra or incantation. Very open still to what words will be used for MSTAID song, but am considering the definition of the wire.

To Do 3.10.2010:

Work on chemise

Work on memorization

Studio Report: 3.09.10

2010-03-09T23:14:00.000-06:00

Studio Report: Tuesday, March 9, 2010

1:00 – 3:30 PM

Present: Tif

1:00 - 1:45

Warm-up/Stretch

Work choreo from memory

1:45 – 3:00

Work material backwards

Work backwards material in with forwards material

Work mini sequences

Perfect both forwards & backwards

3:00 - 3:30

Run Clock Dance

Introspection

And here I wasn't looking forward to the backwards choreo & it not only was fun to think about it going backwards, but also helped me solidify a few unclear elements in the forwards choreo. Therefore, I feel even more confident now in liking both forwards & backwards and have a clear sense of where moves are exactly in my body.

Messed up a few times and forget the transition walking towards Driving Wheel, happened to me twice! I think I've got it cleared up. But, regardless of the mishap, I continued on with the rest of the choreo as written. It's pretty good there in my memory. Kind of wanted to get to Hand Words and knocktapping today, but didn't have the brain space with working the 3 sequences backwards and perfecting forwards. However, I figured since I was more knitpicky than I thought I'd be today, that leaves for more time to focus on Hand Words tomorrow anyway. Decided to call it a day an hour early.

To Do 3.08.10:

Work on sewing chemise

Studio Report: 3.08.10

2010-03-08T23:10:00.001-06:00

Studio Report: Monday, March 8, 2010

12:00 – 2:30 PM

Present: Tif

12:00 - 2:30

Work Clock Dance on Floor

Memorize:

Choreography

Positioning

Blocking

Introspection

Very successful rehearsal today. Got all that I wanted to solidify and I feel confident with where I have placed the dance on the floor. I feel very comfortable with the forwards choreography and will solidify what I've learned today with more in depth work on the backwards choreo tomorrow.

To Do 3.08.10:

Print out Hand Words scan & document

Studio Report: 3.07.10

2010-03-07T21:45:00.003-06:00

Studio Report: Sunday, March 7, 2010

5:45 – 8:15 PM @ TTS

Present: Tif & Dex

5:45 - 6:30

Set up Room

Make video for NDA Interview

6:15 – 8:00

Rehearse

Get into Costume

Run Sequences with Video

8:00 – 8:15

Clean-up

Introspection

I was asked to create an interview and shoot some video of the show for the blog of the organizations where I am taking this piece to...and it got me thinking that I'd like to do a very short video promo of the show to include in e-blasts on twitter & youtube & facebook to get people interested in the piece. And, to have a rehearsal document of the show prior to it all being done.

The sequences went very quickly and Dex and I worked great as a team (no surprises here!). I felt very "on the spot" to perform and felt aware of everything but what I was supposed to have my attention on: the content of the show.

It was kind of awkward taking the pieces out of context first, but soon got the hang of it. I think it was also a positive experience in that I got to do a trial run of the costume and know what little tweeks need to be made and how it performs with me and creates a sense of character. I'm very pleased with it and know what I need to think about for this week's rehearsals.

To Do 3.07.10:

Download videos & begin to edit material together

Get everything paperwise ready for tomorrow's rehearsal

Ideagrams 3.06.10

2010-03-06T20:37:00.002-06:00

Ideagrams March 6, 2010

[as written on the Clock Dance breakdown]

Clock Dance Logic

Studio Report: 3.06.10

2010-03-06T20:16:00.003-06:00

Studio Report: Saturday, March 6, 2010

3:30 – 5:30 @ TTS

Present: Tif & Dex

3:30 – 3:45

Edit 3am

Edit FVOO

Warm-up/Stretch

3:45 – 5:20

Create floor plan for Clock Dance

Discuss "backwards"

Review floor plan for Clock Dance

5:20 – 5:30

Discuss Girl Burned in Water

Introspection

Today's rehearsal was very productive. I am pleased and excited about the floor plan and sequential order for Clock Dance. I'm also glad to edit down (even if it's a little bit) both spoken pieces. Dex and I also discussed how to go about making up a "tune" & chorus for Girl Burned in Water and find the best way to do it is to come up with a general amount of bars Truman has to play based on the average of several improvisations of the song and then get him to create a score with this amount of time, then after I get the score - improvise with a voice recorder until I get something that I like.

To Do: 3.06.10

Update all text drafts

Scan Clock Dance Floor Plan

Organize computer desktop filled with drafts & photos, etc.

Work on chemise

Studio Report: 3.04.10

2010-03-04T23:14:00.004-06:00

Studio Report: 3.04.10

3:30 – 5:30 PM @ TTS

(9 am - noon at Links logically cancelled due to coughing fit until 4am.)

Present: Tif & Dex

3:30 - 5:30

-Work clock dance

-Check progress

-Create logic

Introspection

I can't look at the calendar anymore. That's a new rule. I'm building swiftly now, but this is not the way I like to build. I like to tinker. So tinkering be gone and building be prosperous.

To Do: 3.04.10:

EVERYTHING IN THE ENTIRE WORLD.

DODE Postcard Front & Back

2010-03-04T01:45:00.001-06:00

Studio Report: 3.03.10

2010-03-03T23:43:00.000-06:00

Studio Report: Wednesday, March 3, 2010

12:00 – 2:30 PM

Present: Tif

12:00 – 2:30

-Work all choreography for each component

-Perfect & decide on all moves for each component

-Work choreography after editing & refining is finished

Introspection

Today was about refining.

Tomorrow will be about deciding how these go in sequence and in space.

My cold is getting better and is a mere cough at times. I’m sore from yesterday so I know I am doing something vigorous and eventful. I do have very good energy, but will admit that my attention span is short today. I finalized the “skating” sequences and worked on the choices for positioning moves, adding levels, changing the sequences & arm/leg movements a bit to make them more “me.” I will get an opinion about the sequences as individual parts and as a whole during tomorrow morning’s studio session with Dexter. Not looking forward to 9am AT ALL. I am not a morning person. We’ll see…

To Do 3.03.10:

Think about an image for a postcard. Set this up if possible.

Print out Clock Dance Moves onto Paper

Code new visual image: Double Escapement & Mechanical Clock diagrams.

Schedule extra Friday night & Sunday night rehearsals at TTS.

Think about text for final song.

Rip out seams & recut hem of chemise

Studio Report: 3.02.10

2010-03-02T18:26:00.003-06:00

Studio Report: March 3, 2010

1:00 – 4:30PM

Present: Tif

1:00 - 1:30

-Warm up & look over structure for Clock Dance

1:30 - 4:30

-Decide movements that work for each individual section of the piece.

-Work sections by piecing different sections together

Introspection

Okay, it's March now. And now I'm finally admitting that I've got a cold. Or at least an icky throat thing with post nasal drip that doesn't allow me to get a lot of rest or full, deep breaths. I anticipate it turning into a little phlemy cough, too. At least it's now, not tech week, right? But, still - waking up in the morning is a drag & Advil cold & sinus saved my life today. My body & head thankfully aren't wonky, just the throat, so I'll hold off on singing this week - but just memorize the song with no real melody maybe.

Anyway. Really fantastic rehearsal today. I'd say top 5 of the residency. Not what I expected when I first walked in, but I just felt confident & strong and had tons of energy (from where, no clue!) to break down the choreography of the dance. Got very far and basically finished planning each section and worked each section quite a bit. Only things left to do are to work on the "skating" sections of the piece because I want to be sure where these movements are taking place in space before I choreograph something that takes up a lot of space itself. Very happy, sore throat and all. Guess, post nasal drip is my Gatorade.

To D0: 3.02.10

-For tomorrow, work each sequence as is.

-Work on sequencing in space.

Studio Report: 2.28.10

2010-02-28T23:13:00.000-06:00

Studio Report: Sunday, February 28, 2010

5:30 – 7:30 PM @ TTS

Present: Tif & Dex

9:00 - 9:30 PM @ Home on Phone

Present: Tif, Dex & Truman

5:30-7:30

-Show Dex all movements for Clock Dance

-Catalog movements

-Begin to put movements into potential sequences

Introspection

As of now I'm not convinced that the movements are all that interesting as a whole and am a bit concerned they won't be what I imagined. Dexter reassured me that once the movements are sequenced together, little things will come where I begin to link them in interesting ways. He does agree that I'll have to be a bit creative with level changes, etc. Also, we talked about adding in some movements from Hand Words & Birthday into the sequence to tie all these things in at the end.

9:00 - 9:30

-Sing Continuous Winter for Truman to have him take notes for score

-Discuss text for Girl Burned in Water

Introspection

Truman got the melody & notes down in a snap. He's amazing! We discussed extending the chorus, as well as the placement of the chorus, text edits and how best to insert the chorus to all the audience time to breathe in between all the text imagery.

Dex and I plan to edit the text, extended the chorus by a line that repeats, and placed it into a structure that somewhat resembles Truman's suggestion. I picked out what was the most important part of the text and based the rest of the structure off of that. We decided that speaking/singing the first verse would make a good transition, therefore chopping the song into 2 verses, chorus, 2 verses, chorus, 2 verses. We sent Truman a new draft via email.

To Do: 2.28.10

Decide how I want to sing Girl Burned in Water

Prepare for Clock Dance on Tuesday's rehearsal at Links

Ideagrams: 2.26.10

2010-02-26T22:35:00.002-06:00

Ideagrams February 26, 2010

[as written on my laptop in rehearsal on Friday]

PLAN: 1 Month Until Opening

2/27 or 2/28

Use Dex as outside eye at TTS, go over Clock Dance movements, categorize, and begin to plug into Clock Structure

Week of March 1

Secure Dead Time

Secure Clock Dance

Week of March 7

Commit Clock Dance to memory

Work on plugging in text for Hand Words

Re-work first half of show

Edits in text

Memorize Girl Burned in Water

Week of March 14

Run Show

Edit Show

Week of March 21

Write My Soul’s Thralldom with Truman

Work songs with Truman

Run show

Studio Report: 2.26.10

2010-02-26T22:32:00.000-06:00

Studio Report: Friday, February 26, 2010

6:30 PM – 8:30 PM @ TTS

Present: Tif

6:30 – 7:00

-Warm-Up

-Review all Clock Dance Choreography to date that’s been committed to memory

-Re-choreograph, Re-inspire Choreography I am happy with & unhappy with

7:00 – 7:20

-Learn Newer Choreography from Video for Snake Pit

7:20 – 7:30

-Watch new skating video & mark times for movements

7:30 – 8:30

-Learn choreography from skating video & Kate Bush

-Review

Introspection

These pieces are getting far more committed to memory that I had thought. I only had to look back at 2 sections of a video - I ended up cutting these sequences anyway.

After adding the skating video, I feel I have plenty of material, but am unsure if it’s exactly what I thought it would look like while dreaming up the sequence yet. Luckily, I can use the nighttime window reflection to see my body do some of these moves and feel comfortable at this stage. Some of them look pretty neat.

I am hoping that after today’s session I’ll have a body-memory catalog of all of the Clock Dance possibilities to draw from and then plug into the structure.

I also did another edit of Dead Time before rehearsal today and got it down to 2 pages from 6. I am still unsure about the possession part as there are a few possibilities about what type of possession or possessions I should have and what fits with the storyline. I want to have a pretty firm version of it by Tuesday’s rehearsal.

To Do 2.26.10:

Prepare for next TTS rehearsal with Dexter.

Studio Report: 2.25.10

2010-02-25T22:29:00.000-06:00

Studio Report: Thursday, February 25, 2010

12:00 PM – 2:00 PM

Present: Tif

12:00 – 12:15

-Warm-Up/Review Hand Words

12:15 – 1:00

-Review Clock Dance Choreography, Re-choreograph, Re-inspire Choreography I am happy with & unhappy with

1:00 – 2:00

-Learn Newer Choreography from Video

-Commit all choreography to memory

-Recap all Choreography visited today

Introspection

My brain has decided to forget two sequences, 1 completely with just a trace, the other was good forgetting as these sequences can’t run on too long. So, sadly, the Sweet Georgia Brown excerpt from Snake Pit (the bad one to forget – the one I was super pleased with and remember doing 17 times to commit it to memory) that I created as my own response is now something even more different. Not sure I like it quite the same as what I remember my first response being, but that is what memory is for and if it wants to forget it, it wasn’t meant to be.

Clock dance is getting there. I seem to lose mind space and definite energy by one hour into remembering & reviewing. But, did learn some great things today, weeded some more sequences out.

To Do 2.25.10:

Work at TTS this weekend for extra rehearsals lost this week due to Toy Theater being there teching.

Meet Ms. Seafoam & White Ghost

2010-02-24T22:01:00.008-06:00

Today's Harpsichord visit at Andy's Music Rentals was terrific. The staff could not be more intelligent, courteous, and attentive. After checking out the neat seafoam harpsichord that Wilco is rumored to use on their latest album (I'd say if I were a harpsichord, this would be my doppelganger!) we were still curious about the rest of his stock, and Andy himself (in the middle of solving a huge pop-up problem) took time out to take Dex & I to the private warehouse where they store several instruments. It was impeccable. Beautiful. A giant space filled floor to ceiling with instruments I wished I knew how to play. As it were haunted by thousands of instrument ghosts. Including the world's largest gong! There were about 5 harpsichords in storage and all were beautiful, too. Dex and I wished Andy were our cool uncle. He was spectacular. At first glance, Dex and I favored Ms. Seafoam at the store, and the Black & Gold (the triangular cousin of Ms. Seafoam), and the White Ghost at storage. Then, after hearing them, narrowed it down to our preference in sound & color for Links Hall & our show's aesthetic to the White Ghost with second choice being Ms. Seafoam - these also happen to be the ones that will most likely be able to get tuning one month out.

The sound is exactly how I imagined it: plucky, wooden, and wired. Spunky sounding, but spunky in a parlor sense of way. A hidden secret. Oh! I love it so!

We also favored the odd shape of White Ghost & its portability & stoability. The almost triangular shaping of the instrument will create an interesting relationship to the space & the audience as Truman plays it. Yet, Ms. Seafoam is more of a direct ascendant of the baby grand piano with a more traditional (yet beautiful) aesthetic. But I can't decide now after looking over the photos. Just far too beautiful! The simple stark white with the bold sound and odd shape or the decadently tinkering super-colored ornate with the simple shape.

Oh, regardless I am in love with the instrument and also in love with the generous man driving all the way from Pennsylvania who is going to play it for me.

Sadly, lighting mixed with lo-resolution iPhone camera created some pretty incomprehensible photos, but just to give you a sneak peak at Ms. Seafoam & White Ghost...

[Photo Below of White Ghost - SO does not do her justice!]

[Photos Below of Ms. Seafoam]

Look at that painted DETAIL. Oh, God!

3am: Draft

2010-02-20T22:41:00.000-06:00

My first fully, edited draft of 3am. Things are MOVING. Lots to go on this piece, but the more weeding and sifting, the better.

Song #2

2010-02-20T21:34:00.001-06:00

Just wrote Girl Burned in Water in less than a half an hour. I really like this pace.

Studio Report: 2.18.10

2010-02-18T23:38:00.001-06:00

Studio Report: Thursday, February 18, 2010

2:00 PM – 5:00 PM

Present: Tif

2:00 - 5:00

-Look over all videos

-Nitpick movements & notate times/details

-Review

-Refine

Introspection

A sunny, warm (for winter) motivating day. Review went very quickly. Refining what I reviewed was very successful. I got through all videos with notation. Had a fun time in studio minus the time where I decided to do one move which compromised my weak left knee muscle over time and had to chill out a bit during the session and work on movements that focused on the arms. I must reconsider this movement and make adjustments - this move is not worth a bum knee. To see my refined list, check out Ideagrams 2.18.2010.

To Do: 2.18.2010:

-Pick-up trim when it comes in from Vogue (Saturday?)

-Finish adding seam allowances to drafted chemise pattern

-True pattern of chemise

-Muslin mock-up of chemise

-Work on skirt when trim is received

-Prepare for TTS rehearsals over the weekend

Ideagrams: 2.18.10

2010-02-18T23:25:00.000-06:00

Ideagrams February 18, 2010

[Clock Dance refined list of movements - as written on a notepad during afternoon studio session on same day]

Studio Report: 2.16.10

2010-02-16T20:11:00.006-06:00

Studio Report: Tuesday, February 16, 2010

1:00 PM – 4:00 PM

Present: Tif

1:00 – 3:00

-Fabric: Cutting & Calculations

3:00 – 4:00

-Review, Relax, Recharge

Introspection

Note to self: Get some rest.

After neglecting creating my costume, I’ve finally been inspired to sew (when I’m not inspired mistakes happen and I get bored easily). Over the past two days, my costume jacket is finished (minus some hand sewing). I have been sewing non-stop and since this is my very first piece constructed from creating my very own pattern and draping and flybytheseatofmypants sewing, I’m proud to say this baby is extremely well sewn. I am very proud of this. My brain is now focused on sewing, and not so much on Clock Dance. And so much so, I stayed up way too late finishing up the things I should have been doing when I was sewing followed by restless sleeping and a bad nightmare early on in the morning, my body is tired and shot. Tomorrow should bring more luck with concentration on the movement front.

My brain has been calculating nonstop.

So, in studio, to continue the calculation party, I decided to lay out my fabric (all 5 yards) on the studio floor and cut out the skirt. Nowhere in my house do I have that much lint-free/dog hair free space to do such a thing. I also calculated the fabric for the 3 front windows should I choose to do a window treatment that matches the rug for the apartment area for my set.

[below: pre-cutting]

[below: post cutting]

[below: close-up of fabric]

After that, I rested a bit, just laying on the studio floor eyes closed thinking about the next 7 weeks and what I should focus on and be grateful for…then reviewed movement for the show thus far. This time has gone by so quickly, yet so slowly. Now it feels like not enough time when 6 months ago felt like too much time or just enough time. But, like Dex says, if I had to, I could create this show in a week – I just like to tinker and take my time. It’ll get done: I just need to remind myself this. This week I will focus on getting the skirt sewn and the Clock Dance movement broken down and in my body. Then the weekend (I have some DePaul sessions) will be reserved for plugging in these movements into the structure. Then, at home, I can continue to work when studio time is short and also focus then on writing. I will save my chemise for the final week of Feb/first week of March.

I will be jetting off to Vogue in Evanston to buy some trim for the skirt to be able to continue my sewing calculation crazefest.

To Do 2.16.10:

-Vogue Evanston for Trim

-GET SOME REST, SILLY BIRD.

Costume Report: Jacket/Top

2010-02-15T23:50:00.002-06:00

I've spent several days drafting, truing, and the mock-up for the jacket/top for the costume. These past two days I sewed basically non-stop. I am very pleased with the final product. Just a bit of some hand sewing left which I will save for when I need to hand sew all garments.

[Below: photos taken while still draping the sleeve and embroidery trim.]

Promotional Photo Shoot in Chicago Blizzard

2010-02-10T12:20:00.006-06:00

Last night at 9PM, full whipping winds and blowing blizzardy snow, Dex and I trucked out in unplowed roads to Humboldt Park. I braved the snow with no hat, coat, or gloves for a half-hour. Dex took the photographs with snow chunks flying in his face. It was freezing. And lovely. And beautiful. And, yes - fun.

I am considering these four photographs for the publicity shot for Detail of Double Escapement. Of course there will be some PhotoShop necessary, but if you've got any input on any of the photos below, it would be greatly appreciated.

In no order of preference...

[Photo 1]

[Photo 2]

[Photo 3]

[Photo 4]

Studio Report: 2.09.10

2010-02-09T17:17:00.000-06:00

Studio Report: Tuesday, February 9, 2010

1:00 – 4:00

Present: Tif

1:00 – 1:45

-Using DITD DVD of movements, go over “Musical” and “Seen it All”

-Mark chosen movements to sample using body (and notepad)

Break

2:00 – 2:45

-Using DITD DVD of movements, go over “Factory”

-Mark chosen movements to sample using body (and notepad)

-Review all of DITD chosen sample movements

Break

3:00 – 4:00

-Using Clock Dance DVD of movements, go over “23/h,” GW,” and “Snake Pit Ward”

-Mark chosen movements to sample using body (and notepad)

-Review all of today’s choreography…for the mind!

Introspection

I don’t know how it works, but it just does. I find many similarities between the DITD videos and music videos from Janet Jackson & Kate Bush, etc I am sampling. This is very good. I also find some similarities of all of the Clock Dance video research relating to my own choreography in HandWords. It’s crazy looking forwards to Clock Dance with sampled choreography while looking backwards to Hand Words with my own choreography and finding similarities that were hoped to work out – and now they are. So, it feels good proving my entire artist statement true – these outside resources we (I) come into contact with everyday seem to be what I’m attracted to sample from others – what an interesting cycle! How can something I choreographed myself makes sense with videos of other’s choreography I have chosen and they coincide stylistically? Do I just have an eye for smashing things together that are oddly similar? Or, is it coincidence? Or is it that I was drawn to these specific videos because they already contained a cohesive essence I was looking for? Some of these videos were chosen very early on and bookmarked for safe-keeping, while others I’ve found just this past week. Whatever- the magic, it works, and I like it.

I find that I pick up choreography much more quickly now since this seems to be my process over the few years. I know now not to worry about getting it “perfect” and I select what movements I want, express them in a way (directionally/stylistically/etc) that is my own. For this particular choreography for Clock Dance, I am over-looking my notes that I created about moments in time in each video I find interesting. I go to the specific time-mark, look at the segment, and then decide if it’s really necessary for the choreography. If it is, I go over (and over) the segment on video and then put it into my body. Then, I just do the movement combination in space and start to forget about looking back at the video. I do the movement over and over again until I understand it. Then move on to the next segment – in some ways building on what I already have and what I’m looking for. I find the DITD movements quite machinelike so I am keeping most I have marked. For instance, I found two segments in each video that compliment and expand on one another so I am keeping this in mind if I want to segment them together or leave them separate. Soon, I will forget the video and the source and begin to fully incorporate it into my body and that’s where the real assimilation begins between what is mine and what I observe and what once was.

To Do: 2.09.10:

-Take publicity photo tonight at Humboldt Park

-Rest. You’re on a good track.

-Oh, and if you want to, you could begin editing 3am/DeadTime.

-Oh, yeah, and if you’re in the mood, start writing another song.

-But - it’s your day off tomorrow, so don’t be too hard on yourself – you’ve done some good work.

…Okay, coach, thanks.

-Get to work.

-Wait, you said rest!

-I was testing you. Relax.

-Oh, haha. You’re funny coach.

-(smiles)

[Ambulance sirens ring outside to take me to the nut house.]

Studio Report: 2.08.10

2010-02-08T19:36:00.005-06:00

Studio Report: Monday, February 8, 2010

11:00 AM - 4:00 PM & 6:30 PM - 8:00 PM @ Damen Avenue

Present: Tif

11:00 AM - 4:00 PM

-Watch clips of Dancer in the Dark online from YouTube (the entire movie is available for streaming)

-Record clips from DITD for Clock Dance

-Watch an episode of Psychic Kids (to see if there are any more natural approaches towards Medium abilities - many I have seen are quite theatrical)

-Watch "I am 6" and free-hand notate episode

-Watch "Return of 6" (parts 4 & 5)

6:30 - 8:30 PM

-Scan/Upload "I am 6" notes to scanner & jpg format for blog

-Watch DITD clips and notate times for movement for Clock Dance

-Re-scan/upload Page 2 of Clock Dance movement list

Introspection

As all of my work relied on online sources, I decided to continue to hold my studio time, but instead of at Links Hall, have it at home. I've been staring at screens all day. Writing all day. My brain still doesn't feel too overwhelmed. Got a tremendous amount done.

I have "I am 6" episode catalogued and now all I have to do is weed through the descriptions and work writing the song "Girl Burned in Water." Now that this material is written, I can now write as the whim comes over me. To see what I mean, click here to see the seven-page list of automatic writing on 2.08.10's Ideagrams.

I now have far too much source material for clock dance, but now I know that I can finally stop searching for internet-based sources. All the material I am interested in is timecoded and am ready to go into studio tomorrow and begin looking at individual videos and putting them into my body as a blizzard takes place (this is what the weather men are talking about). To see what I'm talking about, click here to see additional videos & timecodes I've added since yesterday.

May wake up before sunrise tomorrow to take a promotional Detail photo pending the snowfall. If not, it'll have to be Wednesday. I want a significant amount of snowfall for this photo - or at least it has to be pretty white-covered outside. Will report on that if/when it takes place and will post some raw photographs. Still have to think a lot about styling the photo.

To Do: 2.08.10:

-Think about styling for photoshoot in the snow sometime this week

-Burn DITD clips to DVD

-Label DVDs

-Clean-up & Add to Source List

Ideagrams: 2.08.10

2010-02-08T18:41:00.012-06:00

Ideagrams 2.08.10 [As written on the same 2nd page as on 2.07.10 - a continuation...]

below: Updated Page 2 Time Code & Movement Description List [see yesterday]

below: 7 pages of automatic writing while viewing Paranormal State's episode "I am 6."

Ideagrams 2.07.2010

2010-02-07T21:58:00.005-06:00

Ideagrams February 7, 2010 [as written on a pad of notebook paper in a room at TTS]

Above are snippets taken from videos I am studying for movement for Clock Dance. Intention is to go over them again, put some of them into my body, forget the source and sequence them together to make choreography.

Studio Report: 2.07.10

2010-02-07T21:53:00.005-06:00

Studio Report: Sunday, February 7, 2010

3:00 - 5:30 PM @ TTS

Present: Tif

3:00 - 5:30

Reviewing video clips, marking times for "moves"

Introspection

I thought this would take two, maybe three days and it took less than three hours. Talk about working hard. After downloading those few extra clips off the Internet, I went through all videos and marked times where I was interested in movement happening. We're talking superdooper knitpicky. In a great and manic way. It's the only way it'll get done, right!? Click here to get some insight.

Also did some more looking up on the Internet of Lars Von Trier's Dancer in the Dark (we were talking about it after the WIP with Bryan & Ginger). So, since the resource approached itself, I'm going to take a greater look into this musical structure, and perhaps use some of the movements from the film in the Clock Dance as well.

To Do: 2.07.10

-Look up DITD on YouTube (if not, rent it) and take clips if found on Internet.

Studio Report: 2.14.10

2010-02-04T21:50:00.000-06:00

Studio Report: Thursday, February 4, 2010

12:30 – 3:30 PM

Present: Tif

12:30 – 1:00

Look over Clock Dance breakdown, check out videos, etc.

1:00 – 3:30

Begin selection sections from videos

Begin to transcribe sections using the body then written word

Begin to place dance snippets into Clock Dance breakdown

Introspection

It’s great to be back in the studio. Been feeling under the weather (not sick just exhausted) after last week’s marathon of grant-writing (my first time so it was an intense, meticulous process) and getting the Rhino I am in up & rehearsed (we’re talking 1am done time at tech) and then hosting my mom for four days (we’re talking not great sleep and lots of entertaining) while my husband was out of town led to very late nights all last week. It created a slew of tiredness that I hadn’t caught up to yet – when you have to keep going, the body finds a way, and this body was just not finding any extra energy for Monday or even Tuesday’s rehearsal. Which I find sad. But, Thursday I was somewhat up to par (heard today was a bad pollution day after I was actually feeling it in my lungs – odd coincidence!).

ANYWAY.

Back on feet. Will make up time tomorrow night and probably Sunday afternoon at TTS if Dex can find a room for me to continue to work on Clock Dance.

Got pretty far today in regards to knowing what material I have, what I need to find, and what I need to create myself. It’s all created by myself, of course, though some of it is channeled via sampling (I find it very pertinent to this topic of possession, you see…).

To Do 2.4.10:

Re-look at and find Janet Jackson’s newest dance video

Check out Janet’s Rhythm Nation dance video

Get the Ghost Whisperer “guy run over by a car” video onto DVD for Friday.

Yes, I'm still alive...and rehearsing

2010-01-31T21:47:00.000-06:00

My rehearsals were cut down a bit these last few weeks due to me opening a hit show at Rhino Fest with Brian Torrey Scott. So, I worked mostly from home on things. Am still rolling along, merrily...

Ideagrams: 1.19.10

2010-01-19T23:17:00.004-06:00

Ideagrams: January 19, 2010

[as typed in my laptop during studio this afternoon.]

CLOCK DANCE CHOREOGRAPHY LOGIC

MOTION 1:

BALANCE & HAIRSPRING WITH ANCHOR ESCAPEMENT #1

BALANCE

MAIN CIRCLE: 2 SETS OF 9 = 18

MOTIONS MOVE: CLOCKWISE & COUNTER-CLOCKWISE

+

HAIRSPRING

3 COILS WITH ATTACHED ANCHOR ESCAPMENT #1

HAIRSPRING WINDS: CLOCKWISE

ANCHOR ESCAPEMENT #1

MOVES: STOPS AT CENTER

PENDULUM MOVES: COUNTER-CLOCKWISE

ESCAPE WHEEL MOVES: CLOCKWISE

PALLET MOVES: COUNTER-CLOCKWISE

MOTION 2:

PALLET LEVER: SHORT, LONG, MEDIUM

PALLET LEVER

2 SHORT

ESSENCE: ROUND

PALLET (1 LONG)

ESSENCE: PUNCTUATED BY PIVOT

WHEN MOVING LEFT TO RIGHT, PIVOT IS AT END

WHEN MOVING RIGH TO LEFT, PIVOT IS AT THE BEGINNING

PALLET LEVER (2 MEDIUM)

ESSECNCE: ANGULAR

PALLET LEVER SPECIFICALLY MOVES: LEFT MOVES COUNTER-CLOCKWISE, RIGHT MOVES CLOCKWISE

MOTION 3:

ESCAPE WHEEL

ESCAPE WHEEL

4 SECTIONS OF THREE = 12

MOTIONS MOVE: CLOCKWISE

MOTION #4:

PINION

PINION

6 TEETH (4?)

MOTIONS MOVE: CLOCKWISE

PINION W

BETWEEN TRANSITION A & DRIVING WHEEL

ATTACHED TO DRIVING WHEEL

PINION X

BETWEEN DRIVING WHEEL & TRANSITION C

ATTACHED TO DRIVING WHEEL

PINION Y

BETWEEN TRANSITION C & TRANSITION D

ATTACHED TO MINUTE WHEEL

PINION Z

BETWEEN TRANSTION E & HOUR WHEEL

ATTACHED TO HOUR WHEEL

MOTION #5:

DRIVING WHEEL

DRIVING WHEEL

8 SECTIONS OF 3 = 24

MOTIONS MOVE: COUNTER-CLOCKWISE

MOTION #6:

MAINSPRING WITH ANCHOR ESCAPEMENT #6

MAINSPRING

6 COILS

MAINSRPING UN-WINDS: COUNTER-CLOCKWISE

+

ANCHOR ESCAPEMENT #6

MOVES: STOPS AT CENTER

PENDULUM MOVES: CLOCKWISE

ESCAPE WHEEL MOVES: NOT SPECIFIED

PALLET MOVES: DOWN, CLOCKWISE

MOTION #7:

GEAR WHEEL

MINUTE WHEEL

RELATED TWIN OF MOTION #8: HOUR WHEEL

DETAILED 13

MOTIONS MOVE: COUNTER-CLOCKWISE

MOTION #8:

HOUR WHEEL

HOUR WHEEL

RELATED TWIN OF MOTION #7: MINUTE WHEEL

BROAD 13

MOTIONS MOVE: CLOCKWISE

MOTION #9:

HOUR HAND & MINUTE HAND

HOUR HAND

MOTIONS MOVE: CLOCKWISE

STUNTED

MINUTE HAND

MOTIONS MOVE: CLOCKWISE

EXTENDED

TRANSITION A

BETWEEN ESCAPE WHEEL & PINION W

TRANSITION B

BETWEEN MAINSPRING & DRIVING WHEEL

TRANSITION C

BETWEEN PINOIN X & PINION Y

TRANSITION D

BETWEEN PINOIN Y WITH MINUTE WHEEL & HOUR WHEEL

TRANSITION E

BETWEEN MINUTE WHEEL & PINION Z

Studio Report: 1.19.10

2010-01-19T23:16:00.000-06:00

Studio Report: Tuesday, January 19, 2010

1:00 PM – 4:00 PM

Present: Tif

1:00 – 4:00

-Dissect, Color Code, and Notate Clock Dance based off of The Mechanics of Motions Clock diagram

Introspection

Woah! Today was ultimate brain day. FORGET the body at this point! Just kidding…the brain IS part of the body. So, a work-out I got – a mental one.

This logistical mind work has created a far more fleshed-out dance sequence logic than I have ever before and looking back at this diagram, I’d be an idiot to think the dissection of this piece would be easy by any stretch of the imagination. I just now need to look at my inspiration material and plug and play. I’ve got some ideas about the many pathways that will be possible (after looking at this diagram for three hours - it’s endless and fun and so exciting to keep the mind active while creating and performing it). I have never choreographed this way before and it’s so exciting! I have some tasty ideas I can’t wait to get ON MY FEET. Oh, until next week. That will be just fine. Do I sound jazzed? Yes, and thank you sun for showing your face. Oddly, in the cab over to Links the cab driver had terrible reception in the car and the song “Dancin’” came on by the BeeGees (who I do not like) and I found myself springing about in the taxi a little. So, if a song with that would normally annoy me gets me going, you know this WIP has put a spring in my step at the studio. [Worrisome doom and gloom be gone.]

Thank you, Roell for our little chat about everything under the sun AND for the markers. Links Hall is the ultimate with resources!

To Do: 1.19.10

Scan Mechanics of Motion color-coded copy

Print out Logic of Mechanics of Motion

Collect more visual inspiration for plug & play

Really ambitious here: Go to TTS and lay out skirt, pin & cut.

Studio Report: 1.18.10

2010-01-18T16:57:00.003-06:00

Studio Report: Monday, January 18, 2010

12:00 PM - 2:45 PM

Present: Tif

12:00 - 12:30

-Write introspection of Work In Progress

12:30 - 1:45

-Watch excerpts of the film, The Snake Pit

-Manually record significant/pertinent dialogue on paper

-Notate physical sequences of interest

1:45 - 2:15

-Watch Kate Bush's music video "Running up that hill"

-Notate physical sequences of interest

2:15 - 2:45

-Watch 3 videos I have already seen a few times and mark significant physical sequences of interest

Introspection

Today was a mind day. I didn't necessarily get all the mind things I wanted to get done - but, I got a very thorough job done of something I didn't expect: to record dialogue on paper from The Snake Pit that would work perfectly for the sequence "3am." So, something unexpected turned out to be a positive. I notated physical sequences that I want to take inspiration from for the Clock Dance section. I already planned today to be the mind and notating day and tomorrow to be a slight continuance then a physical second-half (tomorrow in that the beginning hour should be more notating and looking at the physical structure of the Clock Dance followed by some viewing and improvisations.)

I am working on a few things this week so my mind is a bit distracted with multiple things. We go into tech next week for the Rhino Fest show I am in, as well as collaborating with a friend of mine who is a cameraman with a production company, we are working on the logistics and budget to apply for a CAAP grant to make a short dance film out of this very LinkUP piece I am starting to create.

To Do: 1.18.10

-Load-up WIP from laptop to main computer and post to blog

-Go to physical scenes in The Snake Pit and use camera to record off main computer screen to create more portable AVI files

-Upload notated text from The Snake Pit into the 3amDeadTime file.

-Put all The Snake Pit files onto a DVD to bring to rehearsal tomorrow

W.I.P....it good.

2010-01-16T23:23:00.006-06:00

Saturday, January 16, 2010

Work-in-Progress at Links Hall

3:00 – 5:00 PM

It was terrific to see Ginger’s piece open up the space. I found her work to be in a great state, most especially for a work-in-progress. It'll be a great double bill and fun having her (and her ensemble) around during tech and show times. Prior to the WIP, Ginger and I had chatted on the phone as well as catching one another in between studio times and reflected on how we were both looking forward to getting some outside eyes on our work.

I was overwhelmed (in a positive way) to see the amount of bodies in the seats for this WIP. It was far more packed than some shows I had seen at Links before. Here I was thinking there would be like, 8 or 10 people besides our combined cast of performers – I would say there was between 30 – 40 people, maybe? I thank those who I invited and came, as well as the many others who came out to support the development of our projects so, “THANK YOU!”…

I want to give myself a personal congratulations for:

-Not freaking out. [Okay, speaking as of Friday night’s rehearsal to post show time!]

-Not getting overly nervous besides normal performance jitters (which I was afraid to admit, I didn’t really have much at all) – most especially for going second with literally 5 minutes to prepare before I went up and “go.”

-Just doing it. Believing in it. Living it. Having confidence that this is indeed going in the direction that I wanted it to.

-Leading the entire feedback session myself in a way that struck a balance between the artist taking questions and answering logistical staging questions (as based on the stage configuration as copied on the backs of all programs), conceptual, etc...

The WIP was a great mid-residency event to allow myself to use what I had been going with, but have a reason to really sing. Really believe. Really act. And really discover who my “character” is without knowing I was just alone. It’s difficult to do a monologue to yourself over and over again. But, it’s also good in a way to work without a director in studio every day as one would with a play. [I do have a “sidekick” who directs and teaches acting for a living (and who also was my first acting teacher) so I must say it hasn’t been me alone totally.] Performing it felt good – and most especially good to know that I have a grasp of what I need to go back and think about combined with the “okay” to go ahead and create the rest of the show.

Overall it was great to get an idea of how folks received the story in 1,2,3,4 order as 5,6,7,8 are still yet to happen. The first four train you how to read the information of show, the last four expands on and heightens the first four. So this WIP helped me understand if I am communicating correctly in order to build the final four sequences. Here is what got me thinking and I’m going to write a bit about what is going on in my head (having a discussion with myself – okay, I’m an only child and DO TALK TO MYSELF a lot).

I was most struck by the following trends of topics in my piece:

-Lighting

Yes, it is a work in progress so there is no expression whatsoever of lighting. In order for me to get into character and perform this piece, I needed it to be as Erica mentioned “grainy.” Without more than a mere suggestion of costume, a folding chair and a vintage mini-side dresser it’s pretty difficult to get a sense of mood in a WIP so I went with a pretty dim stage – on purpose. I have often been criticized by folks my entire performance career that my lighting is often too dark. It is an aesthetic I do on purpose. I mentioned that it’s a little bit about the feeling one gets before an opera or a dance. Those half-house lights that, at least for me, creates a sense of on-edge. Or the feeling of being in the dark – isolating or comfortable depending on who you are. The process of allowing your eyes to adjust and as some said, allow themselves to focus on other things besides just seeing and “finding the light.” So, for the WIP I utilized the on-edge dim work lights. I will, however, take into context that facial expressions are essential to this character and must think about how to create lighting that allows detail, but also fuzzy angles so sometimes it is about the face and other times it’s about the body.

And, as Rachel mentioned – the moment where I bring the outside world in (during the monologue when I look out the window) will be an interesting moment to figure out as the WIP was in the daytime and the shows will be at night. Sodium-vapor lights vs. Natural light and the intention behind the reveal.

-Staging

I was hoping the backside of the program would allow folks to grasp at an understanding of where I was in space without having to (before hand) explain the main anchoring spaces. I again think this was a matter of the piece being out of context. When there are “set” pieces in the space, it should be far more clear. I must be sure to delineate space with both set and lighting.

-Transition to Songs

Doing the first piece and going right into singing seemed to be jarring to folks. Again, without lighting as a transition, it may be more clear. Other folks suggested perhaps the song starts softer or more spoken to myself and then grows. I am interested in this, too. But, my original intention for the musical numbers in the context of a musical theater format where songs are the inner life of the characters. I will also have Truman, my harpsichordist on stage with me so that will VERY MUCH have to be something that I look into and will change the entire show’s context completely. Because all of the sudden a man begins to play and then stops and goes dormant.

-Health/Ability

This one struck me the most. For this show, I planned to allow folks to create their own narrative. I feel there are several narratives folks may derive from this story once the show is complete. I am fine with this – though I do have my own personal character’s thru-line that I must follow as I can’t be confused myself when writing the show, but like the confusion of context and narrative in the case of the audience. I can already foresee at least 3 contexts. There is no right or wrong answer to any derived narrative of this show. The confusion IS intended. You remember the letter monologue- maybe you thought: Is it written to her? Did she write it? Is she writing it? Did she even send it yet? Is this letter from long ago? Or now? And then probably between all that you thought several different things, maybe? If so, this is the intention I had – and will make more sense hopefully in the following text piece 3am.

Oddly, I do not see my character as sickly (but again, I mentioned all derived narrative contexts are not incorrect!?) I do see my character as functional (okay sometimes dysfunctional!…). I guess I derived this from watching my mother go through the (and still go through) the stages of grief after her mate died suddenly three years ago. Within days of him dying, she kept their business running all by herself (and still does!) between sobbing fits every time someone called to speak to him. She was at her ultimate strongest and weakest at the same time. She still had to go to the grocery store despite deep shock and pain. The very night he died she was coming up with schemes of moving into a loft in the city, or moving to Key West alongside trying to give me all her precious belongings because she didn’t want to live any longer. So, I view my character as this odd hybrid state of strength/weakness when one is left alone to fend for herself in an empty home. When you feel locked down this is the time you most fantasize. This is how I view the (as I called it in the WIP) “Middle Earth” movement scenes and all the songs – fantasy or a view to the innerworkings of her mind during these fantasies or nightmares she describes. The mind works though things while we grieve, right? I dream in systems, so of course my character would, in a sense then, too.

-Audience

Most had an interesting take on the role of audience, not a voyeur but as a watcher. They feel as if this play is "not intended for them" but at the same time, they (from what I gather) feel comfortable enough watching and looking in. I got the "What role do you want your audience to play" and gave the same answer I gave Asimina during our final mentor meeting session: As a performer I want to give an essence - a sense of texture, not necessarily an overall message or an overall feeling. It's a new form of hybridized performance so I cannot expect or even wish for an audience member to come out of the show as one would after watching a play, or something with no text like dance, or a folk concert - or a costume drama versus an ultra modern reality. How does one create an overall "wish" when dealing with such a hybridized experience? Of course, I hope you like it. Or hope you want to go along the ride with me. Is that even asking enough, though? Asking someone to step out of their lives for 45 minutes to just come an experience "yours/your characters?" Like having tea with a stranger...

Below is a collection of how my notebook looked post-discussion. The words: Internal, Control, Breath, Light seemed to dominate the discussion (or, I guess the words I chose to write down from the feedback!). I am so not surprised about these words becoming the words people use and I choose to hear of folks speaking about my work. These are true words that do define me as a person, as an artist, and I consider these a blessing when they are used correctly and efficiently, and are the exact same things that bog me down when used incorrectly and in excess.

Thank you for pointing out this to me, making me think, and helping me make this clear for both you and me. The mind continues to configure your thoughts and worm their way into mine. Merci.

Studio Report: 1.15.10

2010-01-15T21:55:00.003-06:00

Studio Report: January 15, 2010

6:00 PM - 8:00 PM @ TTS

Present: Tif and Dexter

6:00 - 7:15

-Work all sequences #1-#4

7:15 - 7:45

-Run

(Actual run time: 20min 28sec)

7:45 - 8:00

-Chat

Introspection

I edited and photocopied my WIP program. It gives the Detail of Double Escapement clock diagram, a complete running order (and with sequence #3 there is the extracted, simplified Ben Marcus Wire, The quote) and the top four are bolded to be clear that this is only what is being performed. On the back side is a Stage Configuration for the audience to understand a bit more about what I intend the space to look like. I think this program idea was smart on my part as it and gives folks a common vocabulary to speak about when talking about each vignette as well as the space and piece as a whole. Having words about works they have not yet seen might give insight as to what is to come, without even seeing it.

I was somewhat low energy as I was pretty hungry (not white-wall hungry, but a little more matter-of-fact - saving dinner for AFTER rehearsal), but it was easy enough to work though and really put energy towards what needed it. In "costume," I marked through the text & movement pieces, and made some choices about how to manage a few props: the cape, the mini-side table with drawer, and the letter. I decided on just using a folding chair for the WIP and not bringing in our own wooden shawl-back chair - I want to avoid making "choices" that I'll have to justify for the purpose of the WIP. Better to keep it more "studio" oriented and since I need a drawer, I will just bring the little wooden, vintage side-table we have in the bedroom. [As for the moment, I am not exploring the rocking chair until I get overall feedback on Birthday.]

Run went good, but not overly terrific in my standards (Dex liked it quite a bit). I think it's good to have a pretty good run before the WIP, but still have some things I need to remember and focus on for the WIP. This gives me confidence with still some mental room to grow, of course. An overall good place to be.

To Do: 1.15.10

Will go to TTS tomorrow at 12:30ish, hope auditions are over with in time, snag a room and do a nice full warm-up and a quick run. Then, hop in the car, head to Links and help Ginger. I go second tomorrow, so I just want to be sure that I get some mental time in before I show immediately after her.

Studio Report: 1.12.10

2010-01-12T22:48:00.001-06:00

Studio Report: January 12, 2010

1:00 PM - 4:00 PM

Present: Tif

1:00 - 1:45

-Electroshock text work & experiment with blocking

1:45 - 2:00

-MIND BREAK

2:00 - 2:20

-Work Song #1

2:20 - 3:15

-Work on memorizing text for God's Telegraph

-Work text overlay on movements

3:15 - 3:30

MIND BREAK

3:30 - 4:00

-Review

Introspection

Everything is coming along well - very productive. Working these text pieces like this creates a challenge (mentally) for me in studio. I feel as if I am cramming to get as much of the words knocktap memorized and synchronized with the movement for the WIP but I find that it's just too forced. Having just laid a score for myself YESTERDAY, I think it's highly impossible for me to have even half of this done correctly. I think it will go much more quickly when I don't have my mind occupied on making all these text choices at the same time.

To Do: 1.12.10

-Work on everything.

Sounds Like... some confusing titles

2010-01-11T23:17:00.005-06:00

Q: WHY are there so many titles for only 8 vignettes? Why!

A: Each vignette is comprised of several different components and to keep these components clear, they each have a subname that fits under a more general vignette title. Also, because these most of the subname titles (extracted from external literature and media sources & references) were already established for rehearsal purposes prior to finding all the "real" titles in research and enough exploration was done in rehearsal to give it a more formal title.

Here is the decoder ring:

What I sometimes call it What it's actually called in the program

----------------------------- -----------------------------------------------

1. Birthday 1. Diphtheria

2. Song #1

Go Get Another Blanket 2. Continuous Winter

3. Hand Words (movement)

with

DotDash or KnockTap (words) 3. God's Telegraph Has Outdone Morse's

Altogether

4. Electroshock 4. A True and Fearful Vexation of One

5. Girl Burned in/by Water 5. Girl Burned in Water

6. Dead Time 6. 3am

7. Abe (end of Dead Time)

with

Mourning Walk

with

TickTock

with

Clock Dance 7. Detail of Double Escapement

8. Air Trance 8. My Soul's Thralldom and its Deliverance

[I can't get Blogger to format correctly, so it's all over the place!]

Studio Report: 1.11.10

2010-01-11T23:06:00.003-06:00

Studio Report: January 11, 2010

11:45 AM - 2:00 PM

Present: Tif

11:45-12:00

-Stretch, acclimate

12:00 - 12:30

-Work on song, memorizing, etc.

12:30 - 1:00

-Work on Electroshock memorizing, etc.

1:00 - 2:00

-Work on memorizing DotDash

-Work on placing DotDash text over HandWords

2:00

-Cut out early to run an errand and get a ride downtown to Cultural Center for CAAP meeting

Introspection

Double duty rehearsing and memorizing for Rhino Fest (my collaborative show written by another artist) and Detail (my show) is proving successful, but slow-going on the Detail front. The two writing styles are very different and switching back and forth is a bit tedious, I'll admit. It is coming along. It is.

I am still unsure yet about how the actual harpsichord will sound backing my song that I've written as Truman's got a busy performance schedule with being the interim organist at his church as well as playing in several concerts. So, we have agreed to continue playing phonetag and will chat on Wednesday and most likely Skype on Thursday.

As I am confident now with using knocktap instead of dotdashes, I have laid out a firm plan of when certain phrases are set on top of other movements. This took some time, but there is a logic to it. So far, I've got about 5 complete phrases of knocktaps and hope to have at least half memorized before the WIP.

To Do: 1.11.10

-Work on memorizing at Cultural Center cafe before CAAP meeting.

Studio Report: 1.09.10

2010-01-09T19:54:00.000-06:00

Studio Report: January 9, 2010

2:30-4:30 PM @ TTS

Present: Tif and Dexter

2:30 - 3:00

-Yoga, Stretching

3:00 - 3:45

-Text analysis, blocking, rehearsing, etc.

3:45 - 4:00

-Break

4:00 - 4:20

-Run of sequences 1-4 no stops

4:20 - 4:30

-Go over timing of each sequence

-Notes

Introspection

Today's rehearsal was very fun. Yoga felt great. And today is the most relaxed I've been in a long time. Dexter and I discussed possible blocking to motivate the Electroshock text, rehearsed the text, and discussed motivations for transitions between each vignette, including the progression into the 5th sequence, "Girl Burned in Water." We discussed things that will be important for Truman to understand while creating the music (and me in the writing department, too)- as well as thinking about if things will/should be underscored - so this can also re-motivate the timings on sequences post-WIP.

The first four sequence approx. timings are: 7 min., 2.5 min., 4 min., 5 min.

Doing an entire run complete text and newest, confident choices and changes was enlightening.

To Do: 1.09.10

-Memorize appropriate section in Electroshock

-Memorize as much as can be for dotdash.

MockUP!

2010-01-08T14:40:00.002-06:00

The pattern I've made for my wrap jacket turned out to be successful. Normally I "wing it" and just start cutting, but since the fabric I bought is expensive I decided a muslin mock-up would be a smart choice before going hogwild with the scissors.

Mock-Up is a success. Bring on the scissors!

Change in Plans

2010-01-08T14:32:00.002-06:00

I am sorry to say, due to scheduling conflicts my mentor relationship is no longer.

Studio Report: 1.07.10

2010-01-07T15:58:00.004-06:00

This morning to early afternoon has been peculiar.

And while what happened today is a bit personal to talk about on this blog, needless to say I needed to be there for my family instead of working on my show today in studio. Very unfortunate considering the timing.

I have scheduled a pick-up rehearsal at TTS on Saturday evening to compensate for this time loss.

Studio Report: 1.05.10

2010-01-07T15:50:00.003-06:00

Studio Report: January 5, 2010

1:00 – 4:30 PM

Present: Tif

1:00 – 1:40

-Work on Decline of Ballooning Lyrics and Memorization

1:40 – 2:00

-Stretch

2:00 - 2:30

-Re-work & rehearse Hand Words

2:30 - 3:00

-Make/Take 2 important phone calls

3:00 - 4:30

-Work Song #1, Continuous Winter

-Sing and Write: finishing up ALL sections

Introspection

Today was logistically productive, getting more things set and finished and ready to add memorization and text for the 16th. Songwriting is not an easy thing to come back to once you've started something, left it alone, and then try to get re-inspired to finish it. However, I think I've got a great framework that still needs a bit more tweaking before I pass it on to Truman for creating the musical score. Let it sit for the night, then come back to it tomorrow...

I had to take it a bit easy today as I have Decline rehearsal tonight from 6 - 10:30. Double duty on one day is going to require a LOT of concentration to get through my Tuesdays until the end of the month.

To Do: 1.5.10

-Look at Song before Thursday

-Begin memorizing all texts

This Clock Chugs Away Like A Train...

2010-01-07T00:44:00.002-06:00

This clock I've been talking about forever. "Bring the clock into the studio."

Due to over-loading power issues we have in our home (we don't enjoy running to the cold basement every time the heat kicks on due to a blown fuse) we haven't had this particular clock plugged in. And oh the noise it makes.

It rumbles. It chugs. A slow train.

And oh, the sound it better make with a contact microphone near it. Nothing better to underscore 3am and Clock Dance.

Studio Report: 1.04.10

2010-01-04T21:54:00.000-06:00

Studio Report: January 4, 2010

12:00 – 3:00 PM

*I noticed after the fact that my time started at 11:30am. I have made note of this change.

12:00 – 12:15

-Stretch

12:15 – 12:45

-Work Song #1, Continuous Winter

-Sing and Write: finishing up the sections

12:45 – 1:30

-Edit, Work, Recite & Re-Write Electroshock

1:30 – 2:30

-Go over last night’s edits for Hand Words

2:30 – 3:00

-Begin memorization for dotdash

-Think about how these will be amplified verbally/soundwise

Introspection

Songwriting session started off slow, then was productive, then got carried away and soon realized the chorus I made up does not fit at all with the rest of the song melodically – oh well. Stopped that before I went ahead and changed the whole outlook of the song.

Went over Electroshock and sliced it up with edits. I’ve cut over 1/4 of it and am willing for more slices. I am very happy with today’s time spent editing it, reciting it, re-editing it, a continuous productive cycle.

I still have a tinge of the headache that plagued last night’s rehearsal so my energy is just a tad wonky in that my head feels a little knocked around, so I’m not going all out while moving. But, rehearsing Hand Words went very well. I thought through a few of my new decisions from last night and am considering using some shifts in perspective as Asimina suggested. I have so far only included 1 definite physical shift (this is a change from last evening). I am not sure how many more the piece needs as I am going up and down and forwards and backwards quite often – I guess my only concern is that I am perhaps facing forwards towards the audience a bit too much?

I believe I have found a helpful way of memorizing dotdash by breaking it down by letter & word sections. I will give myself a semi-daily assignment to memorize a specific # of dots and dashes between the / [dotsdashes] / [dotsdashes]

To Do: 1.04.10

-Print out a new running order sheet with first 4 sections on it (edits!)

-Work on the memorization for first 4 or 5 dotdash sequences []/[]/[]/[]/[]

Ideagrams: 1.04.10

2010-01-04T21:35:00.004-06:00

Ideagrams: January 4, 2010

[as discussed between Tif & Dexter during coffee before dinner.]

After going over the text edits I created today with Electroshock, I discovered how important tense is in the monologue and how it is essential to my character's story. She IS having these forces, not she WAS or DID have these forces while in hospital. This choice in tense made possible created even further editing of Electroshock.

(From this) The narrative of my character became very apparent and justified post editing session, which led Dexter and I to go on a sort-of journey about what happens to this woman during the show. This tremendously informs the two songs I have yet to write. And even made Dex and I tear up finding out what happens/has happened to this poor woman. It's almost like this puzzle we've talked about together, trying to figure it out, and you find something that clues you in and it fits, makes sense. Like getting to the end of a novel...

It also came to light while chopping rosemary (for dinner, just after our coffee session) about how "clever" I was to use the new technology for the time period (Morse Code) and how it acts as a representation of Spiritualist Medium (specifically) Katie King's knock & tap alphabet she created to communicate with spirits. At the time I created the idea for this piece, I did not put two and two together until now. As this is a solo show, I'd never be so hokey to have someone else (or a recording) rap and tap on things like the floor or table, but during HandWords/DotDash it's about sensing and communicating with "someone/something." So, again, while chopping rosemary, I said aloud to Dexter, "So instead of saying Knock/Tap/Tap or Rap/Tap/Tap, I'm saying Dot/Dash/Dash... to communicate." To which he said, "Why not just do that instead - say, Knock or Rap or Tap." To which I replied, "The title is God's Telegraph Has Outdone Morse's Altogether [taken (& will be cited as such) from a chapter from a book about Spiritualist Mediums] and is therefore more truthful to say Knock and Tap! According to the title of this section, it's God's telegraph that works (as in the spirit's & my way of communicating) and outperforms that of the current technology of the time (Morse Code)."

So I have chosen the words knock and tap (which appear in both my research and written text for 3am/Dead Time. So these words will be heard again and justified.)

It's a little more mysterious and "mine" to eliminate the dot dash and truly react to what I'm sensing (that which is silent & invisible to the audience, yet perfectly audible to the inner ear of my character - yet she recites it aloud to vocally record/receive it to prove to the spirit she is listening and comprehending).

There will be a simple 1 for 1 replacement, and there will indeed (as transcribed by Morse Code) be a message, the same message as in Morse Code. So it's not just improvised knocks & taps. The audience will have a special clue as to what I am saying, but will be apparent in another format...

Studio Report: 1.03.10

2010-01-03T21:53:00.001-06:00

Studio Report: January 3, 2010

6:15 PM – 8:00 PM

Present: Tif (Dexter 7:15 – 8:00)

6:15 – 6:30

-Stretch

6:30 – 7:40

-Hand Words

Specifically: Review & Revise choreography

7:40 – 8:00

-Birthday Sequence

Specifically: Review & Discuss chair options for sequence *rocking vs. shawl back

Introspection

It felt great to get back on my feet. My memory was ready for a revamp. I am happy with the edits and slight changes to Hand Words. I find it is more focused. Dexter reminded me (something I totally forgot during the middle of December): Hand Words is about sensing a connection and trying to maintain the connection by using the body as a conductor. The wire is within the body. So, it’s not purely mechanical. It’s also about the fluidity of sensing, finding – and when that connection is found, it can be either mechanical or fluid depending on the flow of the connection. Is there static? Is there a strong connection? Is this movement section about trying to find or maintain the connection? When I have my dotdash text memorized this differentiation will become more clear to me (and the audience). When asking about the head, Dexter suggested I add the head in post words - (completely opposite Asimina). I am a bit confused about the head. In some ways I find choreographing it in prior to adding the text makes sense, but in other ways it makes sense to see what & where I am sensing as the ears and head listen for connection. Right now I find there are spots with head & without head suggested. In this piece, the head is a detail.

Birthday felt great. I forgot to add in Max. It worked fine without it, but I think it is better with Max incorporated.

To Do: 1.03.10

-Get some rest. Go to bed at a reasonable hour.

Horse, Meet 2010.

2010-01-03T16:48:00.005-06:00

Back on the horse day. Tonight I have a rehearsal at TTS to jump start my week... [I am writing this beforehand as a mental comparison pre-work and post-work with rehearsal report]. And to fill you in with more ramblings as this blog will slowly get more secretive as I'm surely not about to post my writings and songs for the show - there should be SOME mystery, eh?

After almost two (somewhat tedious, somewhat deserving) weeks off from my project (1 week out with a cold, the next week out due to family plans pushing forward due to the snow) I'm returning with triumphantly mixed feelings. Oh the work and OH! the WORK! and Oh, the WORK. I like all quite equally because nothing satisfies/scares me more than an empty to-do calendar.

After an interesting studio shake-up session during my last 2009 rehearsal, I'm a bit "where the hell do I start as it has been suggested to think/do/undo... backwards" - I plan for revision, but not utter recreation. Minor adjustments. I am writing this to say this aloud (for myself).

Mainly I'm in preparation for the WIP on the 16th, which at this point, I have absolutely no clue what is to happen and who is to be there, etc. I'm never too jazzed about WIP sessions, nor am I (sorry, folks) looking forward to more critique so soon out of art school. But, this is part of the LinkUP process, and I'm familiar with the beatings and the praisings and will take it all in as a positive beginning at 5:01 PM (the end time) and will look at the glass half empty up until that very point. Hey, this is my process and I'm allowed to do with it what I will -self-punishing as it may be - you, the audience, should merely be concerned with its end product. [I say concerned, not necessarily guaranteed satisfaction.]

Why do I fear the WIP? The too many cooks in the kitchen situation. And in WIP's it's too many cooks in the kitchen without the master recipe cooking the same dish in the same kitchen. Am I making sense here? For this WIP I'm making a vegetable stock. When I'm making a vegetable stock to eat myself I don't like celery (this will not be included as information in the Master Recipe). So, when someone suggests celery to add to my stock, it's great information to put out there, but no matter what: there's going to be no celery if I'm eating it. And for others, it's why not use this bouquet garnis? or I always add raisins or why not an apple or... others just question: Why not chicken stock? Even when it's clear I'm making vegetable stock. And there will be others who agree, NO CELERY, too thank you!

I'm not here to please. I'm here to show. And yet still that TypeA wants to please and that really needs to be the lobster that gets boiled in the hot water in the toomanycookskitchensession in where we make Lobster Stock (which again, I will not eat...)

Studio Report: 12.21 & 22.09 Cancelled

2009-12-21T13:53:00.003-06:00

I have cancelled my studio session both of these days as I am coming down with a cold.

Can I say I told you so?

2009-12-21T00:18:00.002-06:00

Do I get the luxury of mentioning that I was a nerd for this stuff way back when?

And now it's mainstream as witnessed by this...

I shall call this one: In where my plan is destroyed...

2009-12-20T23:45:00.009-06:00

and I find a new one by reading a fortune told by the bloody cracks of my winter knuckles.

Chorus:

It's utterly disappointing to find -that here, after all this time - what I thought I was creating was a non-autobiographical work based purely on interests and happenings and inspirations that have lead me to artfully manifest my fascinations.

But, after nearly the 3 month point - I find is metaphorically autobiographical.

How does my mind cloak itself in faux duds of non-autobiographicalness?

Reprise:

It's utterly not surprising to me that after all I've been through these past three months to find that I am creating a work that is nearly autobiographical and filled with artistic fascinations that help keep me sane during this curvy journey.

I repeat.

Coda:

The path chosen, aborted.

The newer path chosen, studded with rocks left from ghosts and alive humans (and some stones thrown in there by me, too - okay!).

The newest soon to be insanely new path - complete with *smooth pavement (and comes with a special bonus pack of shiny stones to be thrown in at my discretion) - decided on December 29, 2009.

*definition of smooth is permeable in that it tends to freeze below room temperature in an unwarmed studio space - or freezes intermittently while inside one's mind or, or freezes entirely and masks itself due to incompatibility.

Studio Report/Mentor Meeting: 12.17.09

2009-12-17T23:13:00.001-06:00

Studio Report: December 17, 2009

12:30 - 5:00 PM

@ DePaul The Theatre School 12:30 - 1:45 PM

(with Dexter 12:30 - 1:45)

@ Links Hall 2:00 - 5:00 PM

(with Asimina 2:45 - 4:45)

DePaul TTS: 12:30 - 1:45

-Warm-up, stretch, sweep space

-Run through top half of show sequences: Birthday, Song #1, Hand Words, Electroshock

(with outside eye/editor: Dexter)

Introspection

I ran through the new edits of all 4 sequences with Dexter serving as outside eye. Birthday felt particularly strong - structurally, we discussed the need for the Emily (emotional) section of the show. Alone, the sequence does not need it, but we still believe we should leave a spot for "her" if this emotional shift is needed for the congruence/justification of Dead Time.

After reading Electroshock, we discussed strategies for delivering the text: is it a letter? is it a letter that is memorized with ins & outs of looking at the actual text? is it delivered totally memorized and as memory? I am still unsure of how to deliver this text and feel maybe it could even use a bit more editing - this will be dependent on how it is delivered in the future...

I find the song to be quite catchy, but it still needs 3 more verses as well as a more fleshed-out chorus. We played with words so that the final word of the epilogue chorus bleeds directly into the dot dash text for Hand Words.

I feel warm, prepared, and ready to show Asimina what I've been working on coming immediately next...

---

Links Hall: 2:00 - 2:45

-Warm-up, stretch, look over Clock Dance logistics, sing around words of Song #1

2:45 - 3:00

-Discuss progress with Asimina

3:00 - 3:15

-Run birthday sequence

-Get critique

3:15 - 4:30

-Run Hand Words sequence

-Get critique

-Re-work Hand Words sequence with direction

-Discuss Clock Dance (all 4 parts, using diagram)

-Improvise Part 1: Clock Dance (end of Dead Time)

-Take direction and re-improvise Part 1: Clock Dance (end of Dead Time)

4:30 - 4:45

-Wrap-up

-Logistical chat about props, projection, program notes, costumes, source list, and work-in-progress showing format

Introspection

I am still in conflict about this session: mentally, physically, conceptually, healthfully.

I feel that this is all that is fair for me to say...

To Do: 12.17.09

-Get my head examined.

Studio Report: 12.14.09

2009-12-14T17:03:00.001-06:00

Studio Report: December 14, 2009

11:30 am – 3:00 pm

Present: Tif

11:30 – 12:00

-stretch, etc.

12:00 – 12:45

-read over edits from Friday on Electroshock

-re-edit any edits on Electroshock

-time Electroshock (it’s about 3:20)

-being to memorize Electoshock

12:00 – 12:30

-read over Dotdash text and recite aloud

-continued the above over and over until I can’t say the words: dot or dash anymore

12:30 – 1:30

-Look over DeadTime text and try to make some sense out of it

1:30 – 2:30

-Work birthday sequence

-Read over Continuous Winter research material

-Get brain epiphany…

-Find co-incidence

2:30 – 3:00

-Research Diphtheria via iPhone

-Take notes

-Consider this a great discovery in relationship to Birthday (and the rest of the show).

*Find this information in Ideagram: 12.14.09.

-Run through Birthday to Electroshock once

Introspection

Brain is on but not on. Brain is alert but not willing to organize at regular speeds. It is a slow body day and brain day. It was a review day. But, quite a bit was accomplished while in this state which can be considered either a waste of time or a much-needed pat on the back for getting it together at all.

I am calling this week Review Week… with a Twist. Asimina is coming into the studio on Thursday and after review week is over (after I show her…)- the twist happens were I begin to think about the structure & source for Clock Dance (after running it by Asimina) and then beginningWRITING Song #1 – you hear that brain & creativity - DO YOU HEAR/READ THAT?. That is what I’m focusing on until break. Oh, and memorizing text. And working the text with Hand Words. So, let me revise this that after Asimina’s visit - the second-half of December is officially: Review MONTH with a few TWISTS.

After brain-stewing in these past two rehearsals, the performance is figuring itself out for me - even without having all the vignettes created I already understand the logic of the performance. I’d write it all down here, but then you readers would know. It’s a spoiler alert on an IMDB (or whatever combination those letters go in) page. So you’ll have to TiVo this performance and by TiVo-ing it I mean, you’ll have to come by and see it in March and figure out your own spoilers.

After reading over the story again for the inspiration behind Continuous Winter – Song #1, I did some online research about the disease that the children died from and the symptoms surrounding the disease oddly match up to what I’ve become to interpret while rehearsing Birthday. (Find this in Ideagrams: 12.14.09)

To Do: 12.14.09

-Get a good night’s rest for tomorrow.

-Bring brown electric clock

Ideagrams: 12.14.09

2009-12-14T17:02:00.000-06:00

Ideagrams: 12.14.09

[As read off of a Diphtheria Google search on Safari browser on my iPhone in the middle of rehearsal. Recorded on my laptop.]

DIPHTHERIA

Translates in Greek: “pair of leather scrolls”

Corynebacterium diphtheriae

Highly contagious disease as spread through the air

Referred to as “Bull Neck”

Upper respiratory illness

Swelling in throat & nasal cavity

Creates a grey/black tough fiber-like covering in the throat which blocks airways

Bluish coloration of the skin

Incubation 2-5 days w/ gradual onset of symptoms (fatigue, problem swallowing, sore throat & children get vomiting, nausea, chills & high fever).

Neck swelling – high risk of death

Difficulty breathing, no breathing, rapid breathing, stridor

Chills

Hoarseness & Cough

Painful & Difficulty swallowing

Bleeding nasal passages

Listlessness

Pallor

Fast-heart rate & Abnormal heart rhythms that can lead to cardiac arrest

Low-blood pressure

Weakening of the heart

Paralysis of eyes, neck, throat, or respiratory muscles

Life-threatening to heart & kidneys & nervous system

Sensory-type neuropathy

*Neuropathy is associated with weakness, autonomic changes and sensory changes. Twitching & spasms, muscle weakness, and “sensory symptoms encompass loss of sensation and ‘positive’ phenomena including pain. Sensation of wearing an invisible glove, electric like and extreme sensitivity to touch. Asymetric pain, and pain that is worse at night.

Studio Report: 12.11.09

2009-12-11T17:00:00.000-06:00

Studio Report: December 11, 2009

11:30 AM – 2:00 PM

Present: Tif & Dexter

11:30 – 12:15

-edit Electroshock

-read & recite Electroshock

12:15 – 1:30

-Go over running order

-Talk about titles for each vignette

-Talk about each vignette’s components

-Go through Hand Words sequence with various skirt lengths

-Discuss necessary costume pieces & design elements

1:30 – 2:00

-Read through, catalogue & edit Dead Time sequence text

-Discuss what is lacking in material & gather information about what to watch & transcribe for Dead Time

Introspection

---rant---post truly starts below [deep breath]

I’m only going to briefly discuss how incredibly rude the people are who take over the studio on Fridays until 11:30. They refuse to acknowledge me when I enter the space during my time, even after I say hello (I said hi to a man putting on his boots about 3 inches from my face and he pretended as I were a ghost) – they continue to chat in their own little world. After allowing them to continue to gather their things 10 minutes after 11:30 (while I set up mine for my studio time) I finally said aloud, “Hey guys, I have the space today starting at 11:30, so if you could please gather your things quickly.” The obnoxious gossiping stopped within an instant and they managed to get out within 2 minutes – a total feat I thought would near nearly physically impossible for them to accomplish based on their slow slow slow time last incounter. I am only complaining of this behavior as it is the second time that this has happened to me with the same group, same time, same day. Hopefully, they will GET THE HINT next time so I don’t have to continue to waste my studio time scattering this flock.

[Deep breath]

Today was helpful in that logistical Friday reality-check sense. It’s good to have a practical rehearsal that reminds me both: I’m in a good place AND I need to get writing on these songs AND I need to get sewing (but first I must fabric shop).

I spent a few evenings compiling my text from non-fiction various resources: scientific text, autobiographical text (not personally autobiographical), historical accounts, etc. Extracting complete phrases from these texts, compiling them in my “database,” and then began jumbling them altogether in a long, drawn-out 2 page letter with complete hopes of knocking out one entire page. I’d rather get the long story then edit it for clarity than create an edited version where I must go back and redraw. Here is where Too Much Information was actually my best friend. Thursday evening Dexter and I did a talking edits about where pieces may want to come out (because at that time the 2 pages could have been 2 entirely different letters: 1 more mysterious & 1 more “here is what I experienced”). I feel we were both moving towards the mysterious, so the “here is what I experienced” was what we were looking to edit today in the studio. After axing the hell out of it, it’s now a tidy 1 page letter that I’m happy with. More editing, I’m sure, will be done once it gets to the memorized state, but all in all if no edits are made it’s concise yet experiential all the while being mysterious about what she truly encountered.

Logistics were talked regarding costume: I am going to use the black wool gaberdine ready-made wrap-skirt as the cape, as well as the lace ready-made leggings. I will make the chemise out of a muted colored silk twill (one that has various color variants given the light shined upon it), I will add lace or ribbon straps to my ready-made corset, as well as create some sort of lace headband. I will use the ready-made skirt (being used as a cape), extend the length on the skirt and create a similar draped skirt in black wool (it needs to be ankle-length). I will create a wrap shirt jacket with pointy sleeves by creating a pattern from a ready-made shirt – I am undecided on the fabric for the shirt, but definitely black with perhaps some texture. I will also need to cut the palms out of the gloves and but some sort of fray-check & perhaps ribbon around the palm holes.

Editing of the Dead Time is going to be pretty difficult and will be essential that I am utterly organized and willing to go back and forth at this rate for the performance (I am, but I’m just reminding myself!). This text is so all over the place and spoken by so many different characters I’ll need to invest in quite a few different colored hi-lighters. I am labeling them as: “Yvette” – “Medium” – “Possessions” – “Sensations” – “Ganzfeld” – “Yvette Freak Out” .

Explanations:

-Yvette is a host on a television show I am extracting these texts from where she acts as a sort of outside eye/skeptic/normal person/host & organizer. She, I imagine, is a form of “control” person.

-Medium is one who channels spirits & demons & creates accounts of what & how these sprits and demons communicate.

-Possessions are direct physical accounts of a medium’s body (or “normal” being for that matter) being taken over by a dead person’s character & or physical nature (including physical & mental state of this “dead” person’s spirit).

-Sensations are accounts by all – medium, host, normal person, etc. – they are spoken about or heard and often physically spoken about between the people in the room to check if “you heard that, right?”

-Ganzfeld is an experiment that is scientifically created to stimulate & dampen the senses at the same time in order for a human to get in the right frame of consciousness to connect with the spirit world

-Yvette Freak Out (Yvette is the same host as mentioned above) – This is an example of the “control” person allowing the nervous system to take over one’s rational conciousness while either in the presence of a spirit, or while in a situation that over-stimulates the senses.

To Do: 12.11.09

-Have Dexter watch I am 6 for me and mark when Laura has accounts of possessions. (This way I can go in and directly to the possession scenes and not be too afraid of what happens to her – this episode is particularly The Exorcist-like and am a little too creeped out by what may happen to her that I need him to watch it for me ahead of time to warn me of anything “icky” that happens).

-Write “Continuous Winter” - song #1

Studio Report: 12.09.09

2009-12-09T16:46:00.000-06:00

Studio Report: December 9, 2009

1:30 - 4:00 PM

Present: Tif

1:30 - 4:00

-Look over research for testimonials for Electroshock sequence

-Compile research into writings from previous session for Electroshock

Introspection

The show presents itself in the following ways: 4 movement sequences, 3 songs, 3 text pieces. I have 2 of 4 movement pieces created, I have 2 unedited pieces of text (1 edited, but unmemorized), and 0 songs written. I need 1 song to be written in the next 10 days. Halfway done with miles and miles to go.

I really need to focus my time on the writing pieces as I feel at this moment I will show the first 4 sequences of the show to give a sample of the type of pieces that will appear in the finished piece - movement w/ no text, a song, movement w/ text, and text. Therefore, I need Electroshock to be edited (and in future editing phases as it is rehearsed) and 1 song to be written, as well as continuous practice of the birthday sequence and memorization and incorporation of Dotdash text with Hand Words.

I found everything I had been looking for to fill up the "holes" in the text from my previous writing sessions for Electroshock and know that I already have WAY TOO MUCH text, but definitely related text and now is the time to decide what parts of the story are told as well as how are the clues dropped or a general understanding of what this woman is going through.

I also came across a reference in an electroshock book about a film called The Snake Pit about a woman in an insane asylum. I should see if Netflix has it and check it out for physical cues and maybe even dialogue to add later to a version of Electroshock.

To Do 12.09.09

-Photocopy in Talking to the Dead: page 145

-Watch the film, The Snake Pit

-Compile all Electroshock writings

-Compile all DeadTime writings

-Begin editing Electroshock

-Begin editing DeadTime

-Create an updated running order

-Begin DODE script (at large)

Studio Report: 12.07.09

2009-12-07T23:21:00.005-06:00

Studio Report: December 7, 2009

12:00 – 3:00 PM

Present: Tif

12 – 12:30

-Stretching, etc.

12:30 – 1:30

-work Hand Words (work sequence in skirt design I am contemplating wearing for the show)

1:30 – 2:00

-look over design of skirt for costumes

-take two phone calls (necessary)

2:00 – 2:45

-look over birthday videos to refresh

-rework & refine birthday sequence

-work sequence in capelet costume design idea

2:45 – 3:00

-begin reading Out of Her Mind stories

Introspection

Do I get a round of applause for making photocopies?

Today was about review and detail; using the knowledge I know about what I expect to come (as based on my writings thus far). Today was also about deciding a crucial costume piece - the skirt. As previously thought, my costume was to be compiled of see-thru layers that created a sense of opacity, however this is now perhaps too conceptual and complicated, but a good idea nonetheless. So, there may be elements of this, but after purchasing a wrap skirt at my favorite shop by one of my favorite local designers, I am thinking harder about possibly using this wrap skirt idea and expanding it into a cape. But, regardless of design I now know that I must practice the beginning sequences of the show both in corset and in this wrap skirt to confirm that these design ideas are worth further exploration. More on costumes to come...

I am finding the ability of becoming emotionally flexible from reading my research about electroshock therapy patients and women who have been inducted into asylums for depression and anxiety. The book I am currently reading contains women's writings of true accounts of being treated in wards, etc. for anxiety, etc. The ones I am interested in take place between 1860-1890. So far I am writing down the information I like and will soon, like the Dead Time sequence, will take these words (her words, lots of "hers" involved) and jumble them up with scientific writings (from research I have about this) alongside pieces of demonology & mediumship research and put them together. I would like this piece to have a fluid idea of the audience: is this a letter? written by her or received by her? is this something she wrote or plans to write? is it a diary? is it spoken aloud to a loved one (deceased)? is it a cry for help? or a calm account of a time past? is she reciting her fears that accumulated from a dream/madness/mediumship? is she anticipating what will happen if she doesn't seek help? I really want this fluid nature to allow the audience to determine the meaning of this monologue. It's a clue of what is to come, what has just briefly passed, and hints on themes and questions and ideas.

I see it happening simply - at maybe at the window.

To Do 12.07.09

-Continue reading research

-Transcribe research

-Break down dot-dash according to letters/words, etc.

-Begin memorizing the first few letters of dot-dash

-Begin to think about fabric for costumes (trip to Vogue next week would be ideal)

-Begin to think about design essentials for costumes and continue to try these pieces out at rehearsals

-Email Asimina and begin to come up with a schedule for her to come into view a rehearsal

-Begin CLOCK DANCE

-Organize research

-Rewrite Running Order with new details

Studio Report: 12.03.09

2009-12-03T20:15:00.003-06:00

Studio Report: December 3, 2009

2:15 PM - 4:30 PM

Present: Tif & Dexter

2:15 – 4:15

-Discuss with Dexter:

show structure, texts to be found, research (new & old), editing, and writing content

4:15 – 4:30

- Review Choreography for Hand Words

Introspection

Today started off on a creaky note. A Links Hall staff member had started a project in the studio probably because I came 15 minutes late to studio today (I had to wait for FedEx - they never come when you want them to, right!). Since she had already started her project, I decided to (try to ignore her)/allow her to muddle around the closets for something that was immediately after my studio time. I assumed it would be just a short time, so instead of stretching, Dex and I jumped right in to research, running order -- all things that I didn't mind someone eavesdropping in on and things that didn't require complete concentration. However, once she decided to start overstaying her welcome and banging/cleaning the garbage can & recycling, I lost my nerve (short today, I blame bad dreams & Fed Ex), but didn't make her stop simply because it wasn't worth the confrontation.

Dex and I dug deeper into any missing research I may have and finding out a structure/mood/direction for the writing to be done. I talked through some of (who am I kidding) MANY of my concerns about my usual performance approach of vignettes, making a collage and assuring my intention of the subjects sung about in the folk songs create a more overall context instead of it being a song about "this particular person." Earlier in the process (weeks ago) I was planning on it being a mini-narrative inside the song, but now I talked myself into making a more generalized sense of whatever the songs are going to be about, and structuring the subjects of the song as mere added interest. My main fear is that since the work is not movement, not dance, not performance, and not theater, but an odd, soupy combination of all four I fear having people create a narrative, have their narrative broken, then rebuilt, and re-broken again. A more theatrical context of performance will always create narrative, and I just want to be sure all possible narratives that can be derived from the show could work, as well as my own juxtaposed idea of what the show is about. I have no intention of having a true meaning for the show that I expect or dare assume others will pull from my work. It's a collage and collages are meant to be open to interpretation.

However, let it be known that I do not ever create a piece of any vignette without having my own clear sense of intention. But, these intentions contain hours of research, personal memory, and a combination of dozens of things that I understand no audience member will ever "get" - nor should they. This part is for me.

Starting around 4 o'clock the hall started to get rather noisy with them setting up for an event or party and I lost a lot of concentration reviewing the Hand Words sequence, so I decided to leave early.

To Do: 12.03.09

-Go to DePaul Library and check out books about electroconvulsive/electroshock therapy

-Continue to overview online research about electroconvulsive/electroshock therapy

(SAME AS BEFORE!)

-Work on Writing

-Make copies of research

-Review library books

Studio Report: 12.01.09

2009-12-01T20:14:00.000-06:00

Today's studio session has been cancelled due to scheduling conflicts. Erica has been pre-notified.

Some Pre-Pre Production Photos

2009-12-01T01:27:00.009-06:00

Snow is not on the ground yet so I can't begin taking my press photos. But I've been asked for some pre-production photos for the Links Hall Winter/Spring brochure. I've always felt this show needed to publicize on the horrid, snowy Chicago winters. So perhaps me praying for them may stave off a good snow.

I need the snow to write right now, so maybe a little fall from the sky and then a super-warm-up immediately afterwards will do, weather. Plus, I do enjoy shoveling...

Studio Report: 11.30.09

2009-11-30T20:11:00.001-06:00

Studio Report: November 30, 2009

11:30 AM - 3:00 PM

Present: Tif (Dexter from 1:15 - 3:00)

11:30 – 12:15

-Yoga, stretching, etc.

12:15 – 1:15

- Review Choreography for Hand Words

1:15 – 3:00

-PreProduction Photo Shoot (with Dexter)

Introspection

Today is one of those days where you have big plans and then you get a last minute request and those plans go to hell. I was asked to have a production photo for my show...TOMORROW. This, to me, is last minute simply because I care about what images are used to represent something before I get to present my piece. Links Hall suggested they take a photo off of my website to advertise, but I am anal and wanted something that depicted the mood of this show, as this show is truly unlike anything I've ever done before. And since it is a modernized approach to Victorian Spiritualists, a photo of me ironing or running like Jean Seberg in Breathless "ain't going to cut it."

So, since I got this word AFTER I was in the studio, I had plans to review today and talk about writing, and research...now it was going to be about making up a photo and an image for this show.

I spent over 20 minutes dictating to Dexter (who thankfully was home and willing to spend his afternoon playing last-minute photographer) where all these make-shift costume pieces were, where my makeup was, and to remind him to charge the digital camera, that at this point I was terribly pissed by this last minute request and this time I am losing at nearly the beginning of my month.

While Dex drove to Links, we communicated via phone about the multiple ideas we should try out: long exposure shots, motion shots, and at home later this evening when it was dark: a recreation of the Dead Time sequence with red-lit vintage lamp & ping pong balls on the eyes.

The shoot was saved by an accident of Dexter trying to show me a photo that I could not see on the camera screen due to the bright lighting we had in the studio (he tipped a horizontal photo vertically where the floor appeared as a wall) and we shot a few more and called it a productive day.

Later that evening we had to go out and buy a ping pong balls, cut them in half, taped some velvet to our wall, and staged Dead Time. This was around 11:30 at night and both of us just had the intention of getting it done.

Links also needed a description for the show, too. So, I had to not only had to go though two different types of shoots (one action, one more theatrical), but also make decisions about what this show is about.

NOT what I wanted to do all in one day. But, it's done. The photos are alright for now (I have plans to do a more complete photo shoot with snow on the ground- a more winter shot for publicity...). I just can't get back time and this last minute thing will start to become a real problem for me.

To Do: 11.30.09

- Buy ping pong balls, cut them in half

- Get right light bulb into Gram's lamp

- Find a large piece of velvet

- Costume hair & makeup for tonight's shoot

- Write description

- Pick out preliminary publicity photos

Studio Report: 11.25.09

2009-11-25T20:05:00.001-06:00

Studio Report: November 25, 2009

11:30 AM - 3:00 PM

Present: Tif

11:30 – 12:15

-Yoga, stretching, etc.

12:15 – 2:30

-Improvise Hand Words

-Review, rework, revise Hand Words choreography

-Write choreography

-"Finish" Hand Words

- Review Choreography for Hand Words

2:45 – 3:00

-To Do List

Introspection

With a lot to get done just before Thanksgiving (we are hosting at our home), I was not extremely motivated to come to studio, but in a way it was a good thing as it made me concentrate extra hard on not second-guessing any choreographic decisions. Therefore, I "finished" (by finished in quotes I mean that it is done for now and am willing to edit a bit, but am happy with the outcome - and most importantly, I believe it is long enough to fit the text dotdash speaking.)

I worked on this idea I came up with this morning about handing the wire. It may be a bit mimey, and maybe even looks a bit ballet, but I like the direct contact with a fake wire...it relates so directly to the definition of Hand Words, too that I feel it is necessary. I am happy with the athletic, mechanical nature of the over all piece, as well as incorporating tads of repetition.

I had this idea of making there be a buoyancy between the palms and not have them touch, therefore I took out the claps (that I thought might be a bit dorkey anyway) and added just space between the hands.

To Do: 11.25.09

-Work on Writing

-Make copies of research

-Review library books

Studio Report: 11.24.09

2009-11-24T20:02:00.000-06:00

Studio Report: November 24, 2009

1:30 - 5:00 PM

Present: Tif

1:30 – 2:00

- Stretching, Organizing, Reading definitions, etc.

2:00 – 4:30

-Continue improvisation and choreography of Hand Words

-Notate choreography of Hand words

4:30 – 4:45

-Writing

Introspection

I got the studio extra warm today as yesterday I feel it was far too cold and may have resulted in some strains. I find a warmer studio keeps my spirits up with less lag time. I need warmth to move alongside my moving keeping me warm. Some overall good improvisations today and incorporated some up and back movements into the piece. I worked through my ideas and made some good progress. I would say Hand Words more than 50% done. At the moment, singing along and aloud to non-related music helps me keep perspective on breathing though the movement patterns, where I should hold some movements, and concentrate on flow, stagnant moments, and moments of pausing/reflection while in motion.

To Do 11.24.09

Do I even need to say it? Yes, again - Make Photo copies…

Look at library books and determine what essentials are needed to renew/return

Studio Report: 11.23.09

2009-11-23T19:59:00.001-06:00

Studio Report: November 23, 2009

12:30 pm - 3pm

Present: Tif

12:30 - 1:00

-Stretching, Organizing, Reading definitions, etc.

1:00 – 3:00

-Rework beginning of Hand Words

-Continue improvisation and choreography of Hand Words

-Notate choreography of Hand words

Introspection

I began my session today with re-reading Ben Marcus’ definitions of Hand Words and Wire, The (the two definitions the improvisation/choreography is based on).

Some key words here from his definitions:

Patterns on the hands

Palm holes

Attached

Affixed

In Contact

…simply by moving forward or backward or resting in place

Shortest distance

Surface

Shredded residue of hands

Pulled too hard

Held on too long

Got there too fast

It’s important for me to think about pace, resting versus arriving too quickly and oddly, on Friday, this is what I felt was missing from the beginning. It’s great that I can go forward with choreography, look back and make some changes. I am at about 1:40 when I move with the Morse Code Garage Band “soundtrack.”

My brain pretty much stopped working for me around 2:15. But while stopping and thinking about what is missing now – I discovered I need more UP communication. UP was improvised a bit and will be more thoroughly explored tomorrow, Tuesday. I believe UP and BACK will be goals. Maybe even more diagonals?

To Do 11.23.09

MAKE COPIES of research

Mentor Meeting: 11.20.09

2009-11-20T21:10:00.008-06:00

Asimina and I so far have had two very casual meetings (once at the Links Hall Roell welcome party at Ginger's home and at our Mentor/Mentee contract signing), and a few logistical email chats & phone conversations.

I feel bad in some ways that this is our first meeting, but I didn't feel that I needed a mentor's assistance with researching my show or structuring my show - I believe Asimina to be a great mentor in that she is a dancer with some form of writing background, she appears to be firm and open-minded with opinions, and she's - well, familiar with Links Hall as she's been involved there for so long. I am more interested in Asimina as outside eye, idea bouncer, and someone who can ask me the right questions, or lead me into asking myself the right questions, and to think about things from an outside perspective (one that I can't get from others or Dexter).

I consider Dexter my structurer, director, and motivator. Dex knows my work. But, having someone on the outside who I must defend my work to may be something good in this case right out of graduate school.

I consider Asimina to be my outside eye who isn't familiar with my process and someone who can be an advocate for having me think in a more dancer-focused way (as I don't consider myself to truly be a dancer, but more of an actor/mover/performer).

I wasn't quite sure what I wanted from her. Then, at other times I felt I knew exactly what I wanted from her: ideas of how to motivate improvisation in order to create choreography. Most importantly, choreography that didn't have a too "set" feeling or "and now I do this move" - but a more organic feel to it.

Asimina has a quality and confidence that I admire and an ease about her. I find myself to be controlling, and was perhaps looking to obtain a form of modified ease?

The meeting was at Silverspace - nice and direct, yet homey. I was nervous as I always get while having to talk with someone new - "Hey this is me and my process and all my research and what I'm doing with it and what I'm getting in the studio and what I hope to get and how do I get it and how do I make you get me all in one hour" type of conversation.

I feel the need to explain yet I'm intimidated to open up to her. I must say our meeting left me very confused. In many good ways, and in a few bad ways. I have this problem with mentors, advisors - I try to give a general overview of research, the inspiration of where it stems from, and its structural components ---and then it just all gets jumbled. I try to dumb down my process to make it more concise and by dumbing it down I make it appear, well - dumb. As if I haven't asked myself all these questions yet I have. But, maybe I did a real long time ago and these answers have changed. Since I'm still answering for myself within the dumbed down context I have no correct answer because the answer now is so much bigger - but I can't give the much bigger evolved picture because it's just too much information in one setting. THE PROBLEM WITH BEING A COLLAGE ARTIST. It must be so easy to be like, "oh this show is about: monkeys in Africa and how their banana shortage is causing them to try mangos." Simple. That's that. Got it. But, saying - well, it's about a woman who is haunted, but she's not a character in the show - I'm not playing her, but I kind of am playing her in a few scenes, but this character is permeable in that I am not just one character, but a multitude of characters, but could be read (generally) as one soul living the life and playing the role of actor/mediator/being/soul/mechanical being. Oh, and I transform from being into machine. And sometimes I am acting as both machine and person. And sometimes... See, it gets complicated and then maybe people think I'm disorganized in thought or not sure what I am seeking with my stories/movement or I always get: "but...how does that make sense..."

I also had the problem of trying to explain one particular sequence I was working on and how it related to the show, and somehow the concept of that particular piece of the show (or a recurring theme in a few other sequences) ended up sounding like the general theme of the entire piece- and I began answering questions to her, and double-backing in my head thinking, "Uh oh we're not talking about the same thing here." And so my brain just collapsed mid-conversation and went on autopilot.

I have so much to discuss that truly I can't come up with an answer to say, "This is the message of the show." Yet. Or ever. The audience question always comes up far too early and this is when I get a giant shovel that is too heavy for me to dig my own grave and I slowly just trip over myself, spittle on the ground to make it weaker, and dig the shovel into the spittled ground and accidentally throw it all in my face, covering it with mud and then speaking with this spittled mud that smears and masks truly what I mean to say. I get to begin digging my own grave, but just make even more of an ass by making a giant mess. Much easier for others to just dig it, fall in it, and deal with it. The messier way to dig the grave is always the way I seem to get roped into. It's my own problem.

People just don't get me. And I don't articulate big answers to really big questions in a pretty way. The situation forces me into giving an answer I don't /may not even believe myself - why? Just to answer it. Just to say something. To fill space. Why? I'm too afraid to say, "I haven't thought about that. But, I will. I'll get back to you. Now more on to what I need your help with. Or, I haven't thought about this yet so let me have the time to do so."

And I felt like crying in the middle of our meeting and just saying, "Please excuse me, but I may have just said a bunch of shit right now - here, me - at the two month mark." But you know what, it made me think - it made me at least come up with something and then have to think about whether or not I agree with what is being said, or with what I just said. So in many ways, just bouncing off even confused answers made me more sure of what it's not---because at least knowing what it's not is a start (so thank you Asimina!).

I say/said a bunch of stuff that comes/came out wrong. And this is my own fault. I shouldn't have come in with such a big helping of issues to discuss. For next time it will be about 1 thing or just a few things. I need to be specific for both her sake and my sake.

Asimina was generous with her time, cutting with her questions, and really made me think. But, I think maybe she doesn't get me yet, or how I work, or even what the hell this entire show is about - which I am okay iwth because it was only one one-hour meeting. And this is what it's about. The most important point is that I do, in all my heart, trust her - trust her honesty, her wisdom, her way of looking at things even if they seem to conflict with mine. Asimina is a quality person and performer and there is not doubt in that. And perhaps she's asking me the things she asks herself and gets mad at herself for not being able to answer.

I got a lot of help. It was very helpful. I just need to help myself process this and what this relationship is becoming. I hope it'll be good because I really like her...

Studio Report: 11.20.09

2009-11-20T19:56:00.000-06:00

Studio Report: November 20, 2009

11:30 am – 2:00 pm

11:30 – 12:00

-Stretching, etc.

12:00 – 2:00

-Improvise, choreograph, and notate choreography

-Watch Janet Jackson’s “Miss You Much,” Kate Bush “Running up that hill,” and Abe “M”aria’s performances.

-Work with singing songs while doing Hand Words/dotdash sequence to get an idea how speaking breath will work with this movement sequence

-Work Hand Words sequence with pre-recorded dotdash track. (I am approx 1m05s in)

Introspection

After feeling under the weather yesterday and resting a lot, I felt ready to go and immediately began working on the Hand Words sequence. I choreographed/ notated my improvisations and am working a lot with the floor, far more than I ever have in my career. This is rewarding and challenging. This sequence will require MUCH strength. I have to prepare to be able to do this work while keeping a steady pace while speaking aloud the Morse Code. To prepare, I’m singing familiar songs with a similar pace that I wish to speak at as I am not memorized yet to work with my voice using Morse Code. It is very important for me to remember to breath while doing this work.

After thinking about the sequence after rehearsal, I find I need to add a bit more stagnant moments as the beginning is a bit too fluid. I want to set up that these moments are things that I work through to receive communication, not breeze through – communication is “difficult” at times or “stagnant” at times or the reception is “bad” at times. While other times it is quick with impulse, energy, and sometimes flows and communication is met with ease. I will work on this on Monday.

I am very interested in Abe “M”aria’s work and want to find a way to incorporate a brief improvisational freeing moment. Perhaps this belongs best after Dead Time and just before Mourning Walk/Tick Tock.

To Do: 11.20.09

Photocopy all photo copies for show (Main Clock – several)

Continue to search online for inspiration videos for Clock Dance

Studio Report: 11.17.09

2009-11-17T19:49:00.000-06:00

Studio Report: November 17, 2009

2:00 - 5:00 PM

Present: Tif

2:00-2:30

Stretching/Mind-clearing

2:30-4:00

Impovising “Hand Words” for Morse Code sequence

Recording choreography for “Hand Words”

Rehearsing “Hand Words” with/without dotdash recorded on Garage Band

4:00-4:30

Reviewing all videos for Birthday Sequence
Refresh “Birthday” sequence

4:30-5:00

Review “Hand Words”
Review “Birthday”

Introspection

I arrived about a half hour late because I didn’t eat breakfast before my allergist appointment late this morning. I wanted to digest my diagnosis along with my breakfast and therefore had very mixed feelings about coming to studio all together today, but pushed through the mind fog of my ill-fated and sad diagnosis that is now confirmed, but still ongoing (through at least another doctor’s visit next Tuesday morning).

This Saturn Return is indeed adding all sorts of new changes and challenges to my life. But, on it goes.

So during the first half hour all I could think about is, what the hell am I supposed to live on? And what if the worst is still ahead of me, and so on…but began fooling around mindlessly and just started to improvise the “Hand Words” sequence for fifteen minutes and was worried it was looking like mime. I thought back to Wendell Beavers’ workshop and thought about body planes and went from there.

The result was a very fluid, intuitive improvisation followed by writing and recording down the movements, re-trying it and moving on with the improvising, more writing and recording. And then rehearsing the sequence I wrote down and began practicing it alongside the dot-dash Garage Band track I recorded last week. So far, I’d say I am about 35-40 seconds into a 3m30sec routine. I am very happy with it. Decided to stop improvising for now to come in fresh with an answer to what I wrote today. Thursday’s studio will be a response to the first 30 seconds and so by next Monday, I hope to have a good chunk (if not all) of the sequence!

A very fruitful review of Birthday was done.

To Do: 11.17.09

Download off YouTube videos for Clock Dance

Costume: Step 1

2009-11-16T22:03:00.002-06:00

There are always a multitude of steps when I costume my own performances, and this show is the greatest feat I will pull off to date. I'm going for a modernized, semi-deconstructed Victorian costume. No, it will not be some renn-faire disaster or even something that should be remarkably to-the-time exact - this isn't fashion history here, right? But, that being said, all costumes have an historical photo to back up the inspiration. So, informed design, yes. Accurate, no.

I have a little bit of a history with show patterns. It's almost as if the pattern knows that there is a firm deadline, and they know (without whispering to me) that the pattern is just not going to fit and I will spend the majority of my time fiddling with it to make it work, and then something happens with a zipper. ALWAYS the zipper decides to just, not work - the day before the show. It's happened on all my costume garments with a zipper (never ever with garments I've sewn with zippers I choose to just wear on a daily basis, nope - just costumes.) So, I am prepared to fight back...with garments I ALREADY OWN.

Thanks to this sewing class I took today at Vogue Fabrics, Evanston called Rip it off With Tape instructed by Jean Haas. I copied a ready-to-wear garment using a special method I learned today. It took from 9am-5:30 with no breaks (I realized after I got done that I hadn't even used the bathroom I was in such a driven nobodygetinmyway mood). So, it's not a super quick method, and I haven't tried it out to see the results, but overall I have good hopes that this pattern will end up being my chemise.

And coming home *while using the bathroom for the first time (hey, it's my blog, sorry TMI)* I noticed that the shirt I happened to be wearing was the best bet to copy with tape for my costume jacket, and I think I found a skirt in my closet that I could copy and lengthen, and I already have a cape pattern (which shouldn't be too troublesome). So, while it will take some time to copy it with tape, not only will I gain a few new patterns to my collection, I'll also spend hardly any time fitting the garment as I already know it fits.

I plan to get sewing as soon as early December. I have learned from before I'd rather get it done a few weeks early, try it out and make adjustments, then find out the week of the show that it doesn't work.

We'll see if anything gets in my way. Zippers beware!

Studio Report: 11.12.09

2009-11-12T20:12:00.003-06:00

Studio Report: November 12, 2009

2:00 - 5:00 PM

Present: Tif & Dexter (3:00 - 5:00PM)

2:00 - 2:20

-Work on Wendell Beavers text memorization

2:20 - 3:00

-Record DotDash Shortened Version #3 on Garage Band

-Review running order

-Look over costume design inspirations

-Read over Mourning ritual PDF

3:00 - 3:45

-Go over costume design inspirations

-Decide on what pieces to make, what pieces to buy, and discuss fabric color choices

-Track costumes through show

3:45 - 5:00

-Walk through show (for stage placement and idea of physical positioning/motivation behind actions/text)

-Review diagram of clock dance

-Break down ideas of clock dance diagram (counting, inspirations, and logic behind)

Introspection

I now have a very strong frame for the show. It is great to have Dexter in rehearsal with me to have a director's eye shape my ideas into space. Dexter is always helpful in this case as he understands my "typical" format for my shows and can put together our random conversations (at dinner, in the car) and help shape them for me when I feel cloudy or need someone to help refine my physical space ideas and pacing. Dexter is always an idea generator and helps flesh out conceptual ideas & research, but never a choreographer. I find it very important to do walk throughs (as I find it a performative method of a few weeks of theater table rehearsal). I always tend to work mind first as I find I'd rather spend more mind time refining ideas and gaining intention and motivation rather then going into physical action blindly and uninformed. Once I understand what is physically going on in a scene (such as "Electroshock will be blocked as such: I am at the window"), I can begin to understand my character's intention or my intention as a performer. I also ask what is this scene about? (Again, for example "Electroshock will be in the form of a letter. A woman writes a friend she is now calling upon post-mourning and explaining the traumatic events that have unfolded since the 'death.'") In theater, I can read a text and understand a character, but with performance I need physical space and research to begin to understand what I want (as a character and as a performer).

Lots of writing to do. LOTS. And far more memorization beyond the writing needs to be done. I now know what I need to sew. I thankfully have signed up for another one-day Vogue sewing class called "Rip it off with tape" where I can use a dress I already have (that looks entirely like a chemise according to my costume research) and get a direct knock off paper patter built off of this exact dress. I will then experiment with it in another fabric and then begin to build the costume. As always, I am interested in the way poly organzas lay against one another to create an opaque fabric with the ability to see through. I find it adds layers to the concept of the show in regards to exposing one's self as well as the transparency of spirit, emotion, and the inner-workings of these mechanics of the mind and machines and concepts I am uncovering throughout the show.

This show is very much about the inner workings. Exposing the innards.

To Do/Research 11.12.09

CLOCK DANCE!
-Look for inspiration videos, etc. to fill in for clock dance.
-Re-Copy clock drawings (several of both to draw on)

It's now a collaboration!

2009-11-11T22:41:00.002-06:00

I am proud to announce that my extremely talented Father-in-Law, Dr. Truman Bullard will not only play the harpsichord live on stage with me, but will also be writing all the accompaniment for the three songs I will be singing during my performance.

Dr. Truman Bullard is a professor Emeritus of Music at Dickinson College, Pennsylvania and a Visiting Professor of Musicology at The Eastman School of Music of the University of Rochester, New York.

For more information about Truman, visit his website and read his biography.

Studio Report: 11.11.09

2009-11-11T22:09:00.005-06:00

Studio Report: November 11, 2009

2:00 - 5:00 PM

Present: Tif & Dexter (3:30 - 5:00 PM)

2:00 - 2:30

-Record Shortened Versions of Wire, The definition on Garage Band. Play back, time. etc.

2:30 - 3:30

-Floor layout of show sequences (list of what to build)

-Finding alternate texts

-Fill in holes for text & research

3:30 - 4:00

-Talk over ideas about show running order, new ideas, questions about what is needed to fill in the show, what is Electroshock, what is clock dance, etc.

4:00 - 5:00

-Decide where sequences are placed, determine space & audience orientation, resource list, "set" drawing & discussion

Introspection

I discovered that, like a musical, I would like the 9 scenes in the show to be titled off of found text in my research. I suggested in the program, Dexter suggested using text & a video projector to project onto a wall, used as a form of visual transition. I am completely open to the idea now, however after remembering an earlier conversation that we'd like the harpsichord wires projected live with a camera we'd borrow from our video friend, Stephan, I am concerned about the live projections and the recorded projections needing a separate fader & now computer, and other tech-stuff. After having this dual live/recorded idea in echo chamber (also at Links), it proved to be fickle and complicated so I am a bit unsure.

We brainstormed about perhaps using a slide projector, but realizing that it would be too loud, a silencer too large, and the whole set up to be too obvious. I remain on the fence, but ideally would love for the "title" cards for each scene to be known and projected somehow. I like the magic of it...

I also wanted to talk more about the mechanics of "Clock Dance" as well as "Mourning Walk/Tick Tock" and it is now solved and I feel I can go ahead with the choreography. I need to still select a few more visual motions (in addition to my book photocopies) and I happene

d to stumble across the most perfect website for it. I am mulling about in my head if there is to be a mechanical/analog way of keeping time without it being an obvious clock ticking, but giving the sense of monotony. Ideally it would be great to have an form of resource that could be tinkered with so that it stops right about the end of the two sequences.

In regards to space, Dexter explained to me what the harpsichord looks like and the approximate space it takes up and where it was on "stage" in relation to my rocking chair & lamp. I find that since the wooden closets are far more in-tune (pardon the pun) with the harpsichord, that it should be placed in that area of the room, while the rocking chair and lamp may have more of a relationship to the radiators. Dexter mentioned that a person's home would have a radiator, which got us thinking of forming a "room" area on stage, adding an oriental rug and a small wooden phone table (all which we already own) to hold the Ganzfeld experiment equipment (and anything else needed). So, the audience can then spill out onto the floor of the harpsichord side, and the main "playing space" will exist between the two "worlds" (harpsichord & home). It's sort of a planes of existence idea as well. It would ideally be separated by a hanging chandelier.

To Do/Research 11.11.09

PHOTOCOPY
Talking To The Dead
Pages 80, 112, 130-132, 141, 145, 225, 273

Review Most Haunted and Paranormal State videos and translate.

Begin to memorize Wire, The (shortened Version #3)

FIND
Using Mechanical Escapements "video" select escapements for Clock Dance
Print out Escapement drawings of images taken off site

READ
KATIE KING
DEMONIC POSSESSION
p. 144-46 Grief & Mourning “Emotions”
p. 121 Demons
Links of Seances from email from Dexter’s DePaul computer “links”

*Continue to NOTATE IMPORTANT REFERENCES IN DEMOIC/POSSESSION TEXTS

Ideagrams: 11.11.09

2009-11-11T21:36:00.000-06:00

Ideagrams: November 3, 2009

[As written in my green notebook]

Where final ceremonies were present, prolonged grief was less likely to be present or frequent where final ceremonies were absent, prolongs grief was more likely to be present and frequent.

-Grief & Mourning

by Rosenblatt, Walsh, Jackson.

God's Telegraph has Outdone Morse's Altogether

-Chapter title from Talking to the Dead

"Trance Speaker"

"A True and Fearful Vexation of One"

A bit from my translation of an episode of "Most Haunted"

Francis. Francis.

You’re Francis are you? You’re Francis. Hmm.

Francis.

Francis?

What’s your surname Francis?

What’s your surname? What’s your surname? What’s your sur-name?
I do not. I do not have to talk to you.

I want you to tell me what your surname is, come on.

You’re a hussy. Oh am I? You don’t scare me. You’re a hussy. Oh am I, I don’t think so. You’re a hussy. No I’m not. You’re a hussy. So tell, me you don’t scare me. One bit. You’re a hussy. No you don’t scare me. Don’t come near me because you don’t scare me. You’re a hussy. So tell me, tell me what’s your surname, hmm. What’s your surname? Hussuyhhahahah...Come on what’s your surname? What’s your surname? What’s your surname? Take thy hand off me wench. No, I’m not. I’m just asking for your surname? Take thy hand off me wench. No, you don’t scare me. Come on, what’s your surname. I’ll s’cuttle your legs. Oh, will you now? Don’t you like women? You see your breasts? Yea. Don’t you like women? You don’t like women, do you? You see your breasts? Yes I do. Yea. Hmm.

Cancelled: 11.10.09

2009-11-10T16:43:00.004-06:00

Studio time cancelled today due to a mid-afternoon last-minute doctor's appointment.

After some month-long (if not longer) ailments with my digestive system, my doc recommends I see an allergist. Tuesday...

dotdash Shortened Versions #1-4

2009-11-09T14:54:00.003-06:00

Adapted from Ben Marcus' definition of "Wire, The"

Version #1

The wire is the shortest distance between two bodies. It may be followed to any area or person one desires.

Version #2

The wire is the shortest distance between two bodies. It contains the shredded residue of hands that pulled too hard, held on too long, got there too fast.

- .... . / .-- .. .-. . / .. ... / - .... . / ... .... --- .-. - . ... - / -.. .. ... - .- -. -.-. . / -... . - .-- . . -. / - .-- --- / -... --- -.. .. . ... .-.-.- / .. - / -.-. --- -. - .- .. -. ... / - .... . / ... .... .-. . -.. -.. . -.. / .-. . ... .. -.. ..- . / --- ..-. / .... .- -. -.. ... / - .... .- - / .--. ..- .-.. .-.. . -.. / - --- --- / .... .- .-. -.. --..-- / .... . .-.. -.. / --- -. / - --- --- / .-.. --- -. --. --..-- / --. --- - / - .... . .-. . / - --- --- / ..-. .- ... - .-.-.-

Version #3

The wire is the shortest distance between two bodies. It contains residue of hands that pulled too hard, held on too long, got there too fast.

- .... . / .-- .. .-. . / .. ... / - .... . / ... .... --- .-. - . ... - / -.. .. ... - .- -. -.-. . / -... . - .-- . . -. / - .-- --- / -... --- -.. .. . ... .-.-.- / .. - / -.-. --- -. - .- .. -. ... / .-. . ... .. -.. ..- . / --- ..-. / .... .- -. -.. ... / - .... .- - / .--. ..- .-.. .-.. . -.. / - --- --- / .... .- .-. -.. --..-- / .... . .-.. -.. / --- -. / - --- --- / .-.. --- -. --. --..-- / --. --- - / - .... . .-. . / - --- --- / ..-. .- ... - .-.-.-

Version #4:

The wire is the shortest distance between two bodies. It may be followed to any area or person one desires. It contains the residue of hands that pulled too hard, held on too long, got there too fast.

- .... . / .-- .. .-. . / .. ... / - .... . / ... .... --- .-. - . ... - / -.. .. ... - .- -. -.-. . / -... . - .-- . . -. / - .-- --- / -... --- -.. .. . ... .-.-.- / .. - / -- .- -.-- / -... . / ..-. --- .-.. .-.. --- .-- . -.. / - --- / .- -. -.-- / .- .-. . .- / --- .-. / .--. . .-. ... --- -. / --- -. . / -.. . ... .. .-. . ... .-.-.- / .. - / -.-. --- -. - .- .. -. ... / - .... . / .-. . ... .. -.. ..- . / --- ..-. / .... .- -. -.. ... / - .... .- - / .--. ..- .-.. .-.. . -.. / - --- --- / .... .- .-. -.. --..-- / .... . .-.. -.. / --- -. / - --- --- / .-.. --- -. --. --..-- / --. --- - / - .... . .-. . / - --- --- / ..-. .- ... - .-.-.-

Studio Report: 11.04.09

2009-11-04T20:24:00.005-06:00

Studio Report: November 4, 2009

1:30 - 5:00 PM

Present: Tif

1:30 – 2:00

-Stretching & Calisthenics

2:00 – 2:15

-Morse Code rehearsal (read aloud, get a feel for dot dash sequences and play with pitch and timing)

2:15 – 3:30

-Improvise “Hand Words” sequence to music in headphones

3:30 – 4:00

-Read about PDF of Mourning Customs during short snack break

-Go back to Morse Code reciting, time Original Version (4:22), Write shorter-length alternate versions

4:00 – 4:45

-Go back to improvising & start choreographing moments to “Hand Words” sequence

4:45 – 5:00

-Review Birthday Sequence

Introspection

I find strength-training to be very warming and productive. I will probably add this little 30 minute routine to the end/beginning of yoga. Choreographing the "Hand Words" sequence was slow-going, but successful. Towards the end of the improvisation/choreographing I became overwhelmed with emotion somehow. I worked through it, then stopped. I find that perhaps the reaching motion may have triggered some deep body memory? After taking a break and going back to "Hand Words" I have shaped a short sequence for the piece. It is far more stationary, as if the beginning of initiating a ritual. I believe the sequence needs more floor movement, but like that the sequence may begin or end with this stationary "ritual."

The current version of my translated Morse Code passage runs far too long. I have written alternate versions and will time my reciting of each version - based on sound and feel, too. For rehearsal purposes, I will record the version I plan to use in performance on Garage Band to play alongside choreographing the "Hand Words" sequence. This way, continuously hearing the dot-dash sequence while in studio may help with memorization and body-coordination of choreography (my body is here when I say this...).

Found some very pertinent information in regards to the Victorian Mourning rituals in my PDF made of combined Internet sources. Most interestingly, I found that when a person died, all clocks would be stopped at that time. This is great information in regards to the "Mourning Walk/Tick Tock & Clock Dance."

To Do: 11.04.09

Fix ? and Re-copy Morse Code because I wrote all over it.

Make alternate copies of original and shortened versions #1-4 (with text)

Record Morse Code tracks in Garage Band and burn disk.

Renew/Drop off DPU Library Books

Think about brown electric anniversary clock. Plug it in and listen to it.

Think about this:

Curtains were drawn and clocks were stopped at the time of death. Mirrors were covered because of a lingering superstition that the spirit of the deceased could become trapped in the reﬂective glass.

Original version: Running time speaking in code: 4m 22s

The wire is the shortest distance between two bodies. It may be followed to any area or person one desires. It contains on the surface the shredded residue of hands – from members that pulled too hard, held on too long, got there too fast.

Shortened Version #1:

The wire is the shortest distance between two bodies. It may be followed to any area or person one desires.

Shortened Version #2:

The wire is the shortest distance between two bodies. It contains the shredded residue of hands that pulled too hard, held on too long, got there too fast.

Shortened Version #3:

The wire is the shortest distance between two bodies. It contains residue of hands that pulled too hard, held on too long, got there too fast.

Shortened Version #4:

DotDash

2009-11-03T23:07:00.000-06:00

- .... . / .-- .. .-. . / .. ... / - .... . / ... .... --- .-. - . ... - / -.. .. ... - .- -. -.-. . / -... . - .-- . . -. / - .-- --- / -... --- -.. .. . ... .-.-.- / .. - / -- .- -.-- / -... . / ..-. --- .-.. .-.. --- .-- . -.. / - --- / .- -. -.-- / .- .-. . .- / --- .-. / .--. . .-. ... --- -. / --- -. . / -.. . ... .. .-. . ... .-.-.- / .. - / -.-. --- -. - .- .. -. ... / --- -. / .. - ... / ... ..- .-. ..-. .- -.-. . / - .... . / ... .... .-. . -.. -.. . -.. / .-. . ... .. -.. ..- . / --- ..-. / .... .- -. -.. ... / ? / ..-. .-. --- -- / -- . -- -... . .-. ... / - .... .- - / .--. ..- .-.. .-.. . -.. / - --- --- / .... .- .-. -.. --..-- / .... . .-.. -.. / --- -. / - --- --- / .-.. --- -. --. --..-- / --. --- - / - .... . .-. . / - --- --- / ..-. .- ... - .-.-.-

Ideagrams: 11.03.09

2009-11-03T20:03:00.000-06:00

Ideagrams: November 3, 2009

[As written on my laptop mid studio time/As written on post its and scraps of paper as stuck to the Links Hall floor]

BIRTHDAY

Birthday DVD of Childhood Birthday YouTube videos

SONG #1: GO GET ANOTHER BLANKET

Science of Fear story of 7 children dying of diphtheria

Ben Marcus “Continuous Winter, in Law” p. 88

MORSE CODE

In Morse: Translation of Ben Marcus “Wire, The” p. 140

In Body: Translation of Ben Marcus “Hand Words” p. 140

ELECTROSHOCK

Larger body pathway of electroshock

Text? Clock texts?

SONG #2: GIRL BURNED IN WATER

Ben Marcus “If X> Fire” p. 89

Paranormal State: I am Six

Paranormal State: Return of Six

DEAD TIME

Recreation and Channeling of:

Derek Acorah – Francis, Kreed Kafer, Confrontation, Bodmin Gaol

Chip Coffe – I am Six, Return of Six

Katie King

Demonic Accounts

Ganzfield Experiment

MOURNING WALK/TICK-TOCK

Mourning Walk: Shed Clothing, Mourning Walks, Walking Customs, Mourning Customs

Tick-Tock: In patch of Detail of Double Escapement Diagram

CLOCK DANCE

Detail of Double Escapement

Double Three-Legg’d Escapment

Detail of Terry Torsion Balance

Escapement mechanism of the “Heavenly Clockwork”

Development of the wheeled clock

Mechanical clocks and watches diagram

Eli Terry Clock Patent

SONG #3: AIR TRANCE

Main: Breath

Sub details: Tornado, Wind, Air

My Soul’s Thraldom and its deliverance

Ben Marcus “Air Trance 16” p. 10

Written like Ben Marcus “[10]” p. 112

Studio Report: 11.03.09

2009-11-03T19:39:00.001-06:00

Studio Report: November 3, 2009

1:30 - 5:00 PM

Present: Tif & Dexter (1:30 - 2:15PM)

1:30 - 2:15

-Check-in/Talk Research

2:15 - 4:00

-Floor layout of show sequences using research & post-its as guide

-Edit old/Find new research

4:00 - 4:40

-Refresh and Edit Birthday choreography

4:40 - 5:00

-Run Birthday sequence in the dark

Introspection

This being my first rehearsal of the month, I wanted to dive right in and skip the yoga. Dexter wanted to speak with me (just as sounding board) regarding my concerns for the show and the progress I need to make by my January WIP. The conversation was not productive! When Dexter left, I joked, "If I'm not down ready to meet you outside by 5pm, come look for me somewhere in here. You'll find me hanging from the ceiling by a cord."

Alone, I immediately kicked into gear. Opened up Ben Marcus' Age of Wire and String and flipped to the chapter "Weather." Got inspired. And Spread out all my photocopied research. I wanted to look again at my proposed running order and begin to think about what is pertinent to the show. Refine, refine, refine. I must stop the continuance of being in the land of "TMI/R" (too much information/research."

[photos of my running order]

I feel satisfied with knowing the only sequence I have no clue about is "Electroshock." I know that it is primarily text based or object-interaction-based.

I have solidified what I lack and what I must find. And will work tirelessly this week to have more physical things to work on next week in studio. The in-studio brainwork may have left the building (temporarily, at least HOORAY!).

The daylight savings time makes for a great dark hour (that in all its emptiness is pretty eerie and creepy) in the studio around 4 o'clock to 5. I find working in the dark my absolute favorite. So, by 4:30, I flipped off all the lights, pulled out a folding chair and performed the sequence over and over again. My rehearsal of the birthday sequence in the darkness of the studio got me into character and left me with a fulfilling feeling.

Tomorrow, I plan work on the Morse Code sequence, combining the dot-dash text with "Hand Words" sequence focusing on the palms and pathways of the body leading with the palms.

To Do/Research 11.03.09

PHOTOCOPY

Ben Marcus “Continuous Winter, in Law” p. 88

In Morse: Translation of Ben Marcus “Wire, The” p. 140

In Body: Translation of Ben Marcus “Hand Words” p. 140

Ben Marcus “If X> Fire” p. 89

Ben Marcus “Air Trance 16” p. 10

Written like Ben Marcus “[10]” p. 112

GET OFF INTERNET

Victorian Mourning Dress

Victorian Mourning Codes

Victorian Mourning Walks

Mourning Walk

Funeral Codes

Kate Bush “Running up that Hill”

Morse Code Translation of “Wire, The”

“The wire is the shortest distance between two bodies. It may be followed to any area or person one desires. It contains on its surface the shredded residue of hands – from members that pulled too hard, held on too long, got there too fast.”

Download Episodes:

Paranormal State: I am Six

Paranormal State: Return of Six

Most Haunted: Bodmin Gaol

FIND

Eli Terry Clock Patent

Escapement Mechanisms in Clocks

Emily Bronte Out of Body Experience

READ

KATIE KING

DEMONIC POSSESSION

p. 144-46 Grief & Mourning “Emotions”

p. 121 Demons

Links of Seances from email from Dexter’s DePaul computer “links”

*BEGIN TO NOTATE IMPORTANT REFRENCES IN DEMOIC/POSSESSION TEXTS

Studio Report: 10.29.09

2009-10-29T12:13:00.001-05:00

Today's rehearsal has been cancelled in honor of my Great Grandmother's 105th Birthday Party.

Studio Report: 10.27.09

2009-10-27T20:21:00.001-05:00

Studio Report: October 27, 2009

1:30 - 5:00 PM

Present: Tif & Dexter (1:30 - 2:45PM)

1:30 - 2:30

-Yoga & Stretching

2:30 - 2:45

-Discuss new sequences & new proposed running order

-Create "What to Build for Show" list

2:45 - 4:45

-Continue full choreography for Birthday Sequence

4:45 - 5:00

-To Do/Research List

Introspection

Energy and concentration are down. I think I am beginning to blame anemia (and this dreary weather). Dex and I do yoga and immediately begin editing the content of the show - I need EDITS- I demand edits. Last night, I'd been asked to be in a performance by a former collaborator and oddly, his piece is about ballooning, airplanes, and ghosts - oh, and there's signing, too, and a woman who sees/hears things that aren't there. Zeitgeist? So, since I already had a feeling the dirigibles were tacked on so, we cut the dirigibles and are just keeping tornadoes. The sense of flight will be through weather - I like the idea of tornadoes as transportation object- they are instigated by nature and create a sense of doom/wonder, and move people into places that they necessarily don't want to go. So, now it's about emotional shifts, time, the paranormal, and tornadoes. Believe me, before I go to bed I give the best artist lectures about how everything in the show is related - it's just on blogs where it sounds all thrown together in a goulash sort of way. For explanation of a pretty set RO: See Ideagrams: 10.27.09

I think this show is about details and mechanics of time and how time is represented depending on our place in life. This entire clock thing is driven by me being in a quite Links studio with a clock I never notice while performing ticking away - Loudly. When I concentrate I never hear it, when I'm lonely and unsure of myself, I hear it. I am thumbing around the idea of the title of the show coming from a diagram I found in an old clock book - "A Detail of Double Escapement."

In regards to choreography of the Birthday sequence - it's sketched out quite nice and I am feeling it's about 5 minutes long (and this includes the slow opening where the audience may not even know I am actually performing yet).

Truman, my musician/conductor/choir director father-in-law is in! My in-laws were in town over the weekend and while he is still a little weary of my wish for a harpsichord, I will have him here on board with me composing the songs I write. So, in a sense, I have a collaborator who will not only be assisting me with writing the songs, he will be on stage with me (so I need to begin thinking about: Is he concealed and reveled? Is he always present?). I love not only his talent, but his presence. He's in his early 70's and talking about time with him there will add another layer, I believe.

Lots of updates in a short time. This is how I work. I tinker. I explode. I tinker on the explosion ...So, now I'm honed in. I know what this show needs to be built. And I better get cracking.

To Do/Research 10.27.09

-Review Internet Research about Morse Code (Print)

-Make new Birthday DVD of only birthdays used in choreography

-YouTube for more: Most Haunted, Paranormal State, etc. shows/clips to download

-Download paranormal videos off Internet

-Make DVD of paranormal videos (sound important)

Ideagrams: 10.27.09

2009-10-27T20:20:00.000-05:00

10.27.09

[As discussed with Dexter during studio time.]

Birthday Order:

Ainsley, Alysium, Brittany, Connor, [Hansel, Gracie, Jacob], Harys (blows), Marley (conducting), Max (face held by dad), Emily (emotional shifts), Tiffany (hands, hold dress, stands up, blows)

Possible RO:

Birthdays – Seated, Hands, Breath

A song #1 – 7 Children

Morse Code – DotDash: Text/Story & Movement

Electro-Shock – Spoken

A Song #2 – (Personal) Paranormal

Dead Time – EVP, Possession, Ganzfield Experiment, Katie King

Mourning Walk/TickTock – Floor Pattern

Clock Dance – Movement, Escapment, Lock/Interlock (no distillation)

A Song #3 – Tornado

Studio Report: 10.23.09

2009-10-23T19:16:00.000-05:00

Studio Report: October 23, 2009

10:00 AM - 1:00 PM

Present: Tif & Dexter (10am - 1pm)

10:00 - 10:45

-Yoga/Stretch

10:45 - 11:15

-Review Birthday [Ainsely to Gracie] Choreography with & without video

11:15 - 12:00

-Review Disc 1 & 2 Birthday videos/Cut irrelevant videos & Notate relevant videos

-Create Running Order for Sequence

-Notate Movements on Paper [Ainsley, Alysium, Brittany, Connor & Gracie]

12:00 - 1:00

-Discuss/Organize Research

-Discuss Research Focus & Cuts

-List of Possible sequences for show

Introspection

3/4 of my research is now in paper format and the books themselves have been returned. (I still have yet to focus on Ghost/Paranormal/Seance research to dig deeper into). It was great having someone, Dexter, in the studio for a full day today and getting started early was a nice treat. I was motivated to really open up this process to Dexter and also to sort research. I showed Dexter the Birthday sequence and we worked on changing perspective on Alysium so the body focuses upwards. The leg sliding in between the chair legs was deemed "not too dancery nor theatrical" and actually neat, so I found myself in the right direction. He notated all movements for the ones I had already choreographed (minus Gracie). We looked at all the source material, made cuts and discussed how the rest of the dance should focus on intercutting specific gestures/breathing patterns from a mixture of the videos we chose as relevant to the research. As the first 4 or 5 are "somewhat" identical in time and gesture to set up the dance and prepare the audience how to watch the show, the next "characters" need to create a quicker pace and shift in character - to abstract it. Dexter mentioned that I should include Emily in this sequence (Emily goes from laughing to crying to freak out to smiling, etc over and over again). I agree with him, yet find that I won't be able to completely rehearse Emily into the sequence as I don't want to wear out my emotions that frequently in rehearsal - so, I must find a strategy to rehearse her movements without feeling as if I am always "marking" the entire sequence.

We created piles of relevant research of what I had photocopied and wrote spoke about what I needed to focus on/still find in regards to research. I now have a good idea of what this show is going to be about (For specifics, see Ideagrams: 10.23.09). For the first time, I feel relief and a little scared. Five months to create "all this" ...