I apologize for the unexpected quiet around here these days, life has been busier than usual!
I would also like to apologize for the fact that most of this post may not make sense to you. It’s my inner monologue of studio life lately, and when Plotnikov is around, sometimes you just have to be there.
Ahh, the many emotions of a Viktor ballet. Excited, determined, bored, happy, jealous, sad, ashamed, embarrassed, frustrated, lonely, afraid, angry, annoyed, shocked, in love, infuriated, disgusted, dead…no attitude goes unexplored. Rehearsing three of his (all very different) ballets right now feels a bit like a soap opera; One minute I’m gossiping with my girlfriends, playing our
arms violins, the next I’m “between the sheets” sleeping with other people’s husbands as they watch anxiously from stage right. That is all, of course, interrupted by my frequent tendency to morph into an orchid, blooming and dying again and again in a surrealist, silent-movie-chase-scene-warp-speed fashion. Unconscious bodies, easy hands, round shapes, walrus stomping, human cellos, lycra waterfalls, matrixes and tangos; The directions we are given may not always be what they seem. In and out of long skirts, pointe shoes, flat shoes, quadruple wrapped tube dresses with a face on either end, wardrobe changes happen on stage, in the wings, and without warning. A style so discernible, every day I’m awed by the incredibly vast range in tone of these three Viktor works. Orchis, Surrender, and the yet to be identified New Work have me in a constant emotional evolution.
…and it’s time to hop on the roller coaster for yet another 8 1/2 hour dancing day! Until next time…
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