WEBVTT

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Today is about weight.

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(sighing)

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Take a deep breath.

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(inhaling)

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(exhaling)

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And again.

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And now, still on one spot,

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let\'s let it change
into something

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a little more like a walk.

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Are you breathing?

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We\'re going to keep going.

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Easy head.

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Easy shoulders.

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Easy spine.

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Not too fast.

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Not too fast,
because you want to keep

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the feeling of the weight

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bouncing.

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A-ha!

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I don\'t know
what I want to say.

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That there\'s--

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things change a little.

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Just that.

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B:

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Corky

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met me at the airport...

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...and on the way into town...

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A:

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asked me

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if I would accept

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that B:

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forewarned me I might not...

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A:

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the distinguished alumnus award

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at my high school.

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B:

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an audience at my lecture.

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And...

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(slapping hands)

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Yeah!

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-Is that better?
-Much.

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So there\'s a proximity
question with that.

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Like, is this--

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\'Cause I feel like
I should be upstaging you.

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I don\'t know,
but is this, like,

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like, hands
sort of meeting thing.

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Yeah, yeah.

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So I probably need
to come up more.

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-There\'s something I want--
-But it--

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it gets set up
like where we are,

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right at this one
when we start the second one.

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Right, but actually,
it comes from down here.

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-Mm-hm.
-I slap,

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and then I\'m just...

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I need to get up higher
from the start.

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Okay, cool.

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Should we try it again?

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Yeah, there was one other thing
that wasn\'t clear.

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Oh, yeah.

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What wasn\'t clear?

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Can you keep running it though?
I want to see something.

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So I veer off,

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and to you,
shoulder to shoulder...

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and then she jumps,
and...and then you jump.

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I might\'ve been
a little late

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because I was pulling up
my pants in that run.

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Oh!

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So, I might\'ve been slow!

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Cool. Alrighty.
There you have it.

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We can look at it
in a performance.

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That\'s funny.

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Yeah, it\'s like you refer
to the timing

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when somebody
pulls up their pants

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and it changes everything.

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That\'s funny.

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Right, that is the beginning
of the quartet, right there.

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Then Trisha will come in.

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-Aw.
-Ms. Brown.

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Her upper body stuff is really
like nobody else, you know?

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Like, what\'s going on
with her shoulders.

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Quite her.

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When what was done?

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Here, Crosby Street.

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So that was a year
after its premiere?

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-Or \'79--
-No, it wasn\'t.

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-I don\'t think it was \'79.
-Yes, I think it\'s \'80.

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That\'s what all
the video boxes say.

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Crosby, 1980.

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(humming)

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So much more radical.

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You go, I go.

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Around the corner.

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Shoulder to shoulder.

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(indistinct)

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Okay.

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Hold.

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Okay, that\'s good, right?

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Mm-hm, yeah.

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Did it change a lot?

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No.

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But you do jump sooner.

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A little sooner.

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Yeah, and it even goes faster.

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So...

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Cool.

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I don\'t know how okay
I\'m gonna be.

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You wanna just take it slow?

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Yeah, let\'s go slow.

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Sorry, I was getting
a little too slow.

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No, you\'re good.

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-Kind of.
-I think we did it.

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-Not horrible.
-That wasn\'t bad.

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No, not at all.

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I think the last time
I danced \"Glacial Decoy\"

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was probably around \'93.

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So, it was one of the first
three pieces that I learned

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when I joined the company.

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It looks very fluid,

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but it\'s actually
very challenging

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and filled with imagery
and geometry

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and a lot of precision
in terms of unison

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and spacing.

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So I made one variation on it

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which was to go between
shoulder and head.

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Now let yourself
vary it a little bit.

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So you might want to play with
softening your knees a little

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or seeing if you get
a little bit of a ride with it

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or, I don\'t know,
see what you discover.

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Just for yourself,
just let yourself play

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just a little bit
with this form of rolling

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and feeling your weight
on a diagonal.

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Nice.

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And then at the end,
I want you to...

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really take a moment
to feel what it\'s like

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when you shift
your weight back.

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Don\'t do it all of a sudden,

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just be very conscious
in that time

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of shifting your weight back

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onto your own two feet.

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So if you move out
into the space a little bit,

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the basic premise
in \"Glacial Decoy\"

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is that, at any moment,
your weight could go--

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and I want you to do
the tiniest version possible--

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your weight
could shift forward...

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could shift back--

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just tiny, tiny right now--

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could shift side...

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could shift other side,
or anywhere in between.

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So just give yourself
a moment to feel

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this very mobile sense

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of how the balance is.

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Could be almost so tiny
that I wouldn\'t see it,

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but it\'s a feeling
that you have inside

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that, at any moment,

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your weight could go

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in any direction.

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And that you could relax
with that.

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The gravity piece
is the hardest piece

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for the dancers here to do,

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and I\'m not seeing it
so much this time,

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but often what you see
is if you get people to relax,

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they just like...

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they just sort of empty out
like a balloon

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that just...like that,

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and they\'re not doing that
so much, which is great,

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but what Trisha does--
what Trisha\'s movement does

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a great deal is that
she\'ll have a sink,

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and then that becomes
a rebound into something else.

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It\'s like the act of falling

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just sets a whole string
of things into motion,

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or the act of releasing
the weight downward

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is a beginning;
it\'s not--

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it\'s not a surrender
that goes nowhere.

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It\'s a surrender
that leads

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to a whole string
of other actions.

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Okay, so you see you have
a bigger arc to do.

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Um, and...

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Okay, so, when you--

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when you go into
just the last one,

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when you go into the last one,
there\'s a little bit

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of a tendency
to do that after.

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See if you can go here
and just keep going,

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just leave it open.

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Here.

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Just step past it.

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You just step past it.

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Right, okay, so because
we\'re taking it from nowhere,

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we\'re getting a little bit into
the, like, Russian something.

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You know, we\'re getting like...

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(grunting)

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And it\'s really in transit.

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It continues.

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Yeah, yeah, yeah, yeah, yeah.

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More like that, yeah.

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Okay.

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This one, like,

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I think you probably
remember from before.

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It\'s--you know the tornado,

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that, uh, weather thing,

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the tornado,cyclone,
I guess, I don\'t know.

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It\'s really like that,

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and when you can feel
the momentum--

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so whatever you need to do to
remember, like, oh, the parts,

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but they\'re--you know, the parts
are almost like furniture flying

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in thecyclonelike that.

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That\'s the most
important part of it.

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Okay.

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That was better.

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That was better
because you started here.

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(rhythmically snapping fingers)

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Perfect.

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So we\'re gonna do one thing.

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And for you guys...

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While they\'re doing--

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(unintelligible)

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-Okay.
-Yeah.

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Okay, so, let me just
tell them this really quick.

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So, when you turn,

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when you run,

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you stay in the plié.

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Yeah.

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Yeah, okay, good.

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Wanna try again, everybody?

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First group.

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Nofilleshere.

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Nice.

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(chuckles)

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That\'s okay.

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Oh, yes, that was great.
That was great.

00:16:11.640 --> 00:16:12.840
(clapping)

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Oh!

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Keep going, keep going.

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Oh, right, right.

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Almost.

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That was so close.

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(laughing)

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Was it dangerous?

00:16:24.320 --> 00:16:26.760
-It was okay.
-It was okay?

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You were so good.

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And then once you hit here,

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you don\'t cut right away.

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You go here and forward
like three steps more,

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three steps more forward,

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and then you get to come around.

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So much better.

00:16:46.680 --> 00:16:49.640
-Should we try it again?
-Yeah.

00:17:06.880 --> 00:17:09.640
Mmm, nice.

00:17:09.640 --> 00:17:10.920
Mmm.

00:17:10.920 --> 00:17:13.960
I think that she could go...

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Yes, she can.

00:17:23.160 --> 00:17:24.400
Wow.

00:17:24.400 --> 00:17:25.640
All right.

00:17:25.640 --> 00:17:28.000
Yes, yes, yes, yes, yes.

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Just one point
to go a little faster.

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What--it\'s this one?

00:17:32.360 --> 00:17:37.040
Yeah, I think she can switch
to here a little sooner.

00:17:37.040 --> 00:17:39.200
It just moves
a little bit more.

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It\'s slowing down.

00:17:42.920 --> 00:17:44.000
Yeah, that was good.

00:17:44.000 --> 00:17:46.960
Those pathways were good.

00:17:50.440 --> 00:17:53.240
-Okay.
-Second group?

00:17:59.560 --> 00:18:02.560
Remember, this is the house.

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Good.

00:18:12.040 --> 00:18:13.480
-Oh, good.
-Nice.

00:18:13.480 --> 00:18:14.560
Good distance.

00:18:14.560 --> 00:18:16.240
Very good.

00:18:16.800 --> 00:18:19.120
(snapping fingers)

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Wow.

00:18:31.000 --> 00:18:33.160
(laughing)

00:18:38.960 --> 00:18:42.000
Did you really have a bump?

00:18:42.000 --> 00:18:42.800
Little bit?

00:18:42.800 --> 00:18:45.240
Well, I have to say, I mean,
that\'s how we used--

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we used to really do it
with a bump,

00:18:47.040 --> 00:18:51.160
with a real bump,
like a--like a bump.

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And it was nice, actually,

00:18:52.160 --> 00:18:55.760
but now we\'re afraid
we\'ll hurt each other.

00:18:55.760 --> 00:18:58.120
But we used to have a bump.

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We could finish it this week

00:18:59.800 --> 00:19:02.080
if we maybe split tomorrow.

00:19:02.080 --> 00:19:03.800
-Yeah.
-We could split tomorrow

00:19:03.800 --> 00:19:05.960
and then finish
the duet this week.

00:19:05.960 --> 00:19:07.560
Or, worse case scenario...

00:19:07.560 --> 00:19:09.040
-On Monday.
-Yeah.

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Should I tell them that?

00:19:10.200 --> 00:19:11.880
-Yeah.
-Okay.

00:19:11.880 --> 00:19:13.240
So...

00:19:40.920 --> 00:19:41.920
Okay?

00:19:41.920 --> 00:19:43.920
So...so we\'re good?

00:19:43.920 --> 00:19:44.960
-Yes.
-It\'s okay?

00:19:44.960 --> 00:19:47.360
-Super.
-All right.

00:20:28.960 --> 00:20:31.080
We were working
on the duet today,

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and the main thing
that this is really useful for--

00:20:34.360 --> 00:20:35.600
like I say \"duet begin\"--

00:20:35.600 --> 00:20:39.720
it reminds me where
in the quartet it comes in

00:20:39.720 --> 00:20:41.640
and how the actions
are ordered,

00:20:41.640 --> 00:20:43.360
\'cause they\'re ordered
differently

00:20:43.360 --> 00:20:46.160
than they\'re ordered
in the quartet.

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And it gives me--

00:20:47.760 --> 00:20:51.240
it just reminds me
about the sequence.

00:20:51.240 --> 00:20:54.880
And then, there\'s quite
a bit on that one.

00:20:54.880 --> 00:20:56.960
And I give myself
a little bit of information.

00:20:56.960 --> 00:21:01.200
Like, here\'s our heads
relate to each other.

00:21:01.200 --> 00:21:04.880
You know, this is good
mostly if I don\'t have video,

00:21:04.880 --> 00:21:09.680
or if I just want to remember
quickly what it is.

00:21:09.680 --> 00:21:12.760
Um, this is the one
we were working on now.

00:21:12.760 --> 00:21:14.680
But the funny thing is,
I look at it, I go,

00:21:14.680 --> 00:21:17.080
\"around the world,\"
and I know what that movement is

00:21:17.080 --> 00:21:22.720
but I still need to see it
on the video with pauses.

00:21:22.720 --> 00:21:28.320
And why is it so difficult
to write dance?

00:21:28.320 --> 00:21:31.640
Well, you know,
there are people who say to me,

00:21:31.640 --> 00:21:35.200
\"Oh, you know,
you can Labanotate anything.\"

00:21:35.200 --> 00:21:37.080
And I say,
\"Well, good luck,

00:21:37.080 --> 00:21:39.800
you know,
Labanotating Trisha\'s work.\"

00:21:39.800 --> 00:21:42.000
It\'s ridiculous.
I have to show you.

00:21:42.000 --> 00:21:43.800
-Is that okay?
-Yes.

00:21:43.800 --> 00:21:45.360
Like...okay.

00:21:45.360 --> 00:21:48.240
So, I think the whole idea

00:21:48.240 --> 00:21:51.760
of various kinds of notations

00:21:51.760 --> 00:21:55.440
is they\'ll tell you
what\'s going on with your torso,

00:21:55.440 --> 00:21:58.400
they\'ll tell you
where you\'re placing your limbs,

00:21:58.400 --> 00:22:01.280
they\'ll tell you, you know,
where you\'re placing your head,

00:22:01.280 --> 00:22:05.520
what direction you\'re moving in,
what dynamic you\'re moving in,

00:22:05.520 --> 00:22:07.640
but, you know,
I\'m wearing very loose clothes,

00:22:07.640 --> 00:22:09.840
so maybe it\'s not
that easy to see it.

00:22:09.840 --> 00:22:13.880
How do you notate
something like this?

00:22:13.880 --> 00:22:15.440
Knee, hand;

00:22:15.440 --> 00:22:17.480
knee, hand, rib cage;

00:22:17.480 --> 00:22:21.120
hip, heel, foot, shoulder...

00:22:21.120 --> 00:22:24.520
Everything is sequenced.

00:22:24.520 --> 00:22:27.880
So, the way that this happens,

00:22:27.880 --> 00:22:30.200
it happens because--

00:22:30.200 --> 00:22:32.280
it happens--this--

00:22:32.280 --> 00:22:33.560
this happens--

00:22:33.560 --> 00:22:36.160
this happens
because this happens.

00:22:36.160 --> 00:22:38.160
It travels internally.

00:22:38.160 --> 00:22:40.480
How do you notate that?

00:22:40.480 --> 00:22:41.400
You don\'t notate that.

00:22:41.400 --> 00:22:44.600
And that is actually one
of the really hard things

00:22:44.600 --> 00:22:46.600
for people to see on a video.

00:22:46.600 --> 00:22:50.640
So, when you have someone
who has it in the body--

00:22:50.640 --> 00:22:52.200
we call it \"in the body\"--

00:22:52.200 --> 00:22:56.720
that is the best way
to transmit it, really.

00:22:56.720 --> 00:22:58.840
Like, we have a bunch
of things in this dance

00:22:58.840 --> 00:23:01.960
that would be so hard
for you to ever understand,

00:23:01.960 --> 00:23:05.320
and part of why Carolyn
is happy to be working with me

00:23:05.320 --> 00:23:07.680
is that, like,
I have these things

00:23:07.680 --> 00:23:10.400
very, very integrated, you know?

00:23:10.400 --> 00:23:12.480
So like, here we have this one.

00:23:12.480 --> 00:23:13.920
You go...

00:23:17.800 --> 00:23:20.160
How would you ever notate that?

00:23:20.160 --> 00:23:21.080
You know, you can--

00:23:21.080 --> 00:23:22.880
I can tell dancers, like,

00:23:22.880 --> 00:23:25.160
\"It goes foot, hand,

00:23:25.160 --> 00:23:27.680
left shoulder,
right shoulder, back,

00:23:27.680 --> 00:23:29.440
left shoulder,
right shoulder.

00:23:29.440 --> 00:23:31.760
Everything is falling,
and you fall,\"

00:23:31.760 --> 00:23:33.160
and then I show them
from the side,

00:23:33.160 --> 00:23:36.520
but it\'s really--
it\'s really falling.

00:23:36.520 --> 00:23:37.640
Really falling.

00:23:37.640 --> 00:23:39.720
You can\'t notate that.

00:23:39.720 --> 00:23:44.840
So, that\'s my lecture
on that subject.

00:23:44.840 --> 00:23:47.200
I feel kind of passionate
about that.

00:23:47.200 --> 00:23:51.920
Like, that\'s part of what
makes Trisha amazing,

00:23:51.920 --> 00:23:55.480
that she developed movement
that went so far beyond.

00:23:55.480 --> 00:23:58.320
I used to watch videos
in fast motion

00:23:58.320 --> 00:24:01.240
of all kinds of dance,
and basically,

00:24:01.240 --> 00:24:03.000
you could look at
Paris Opera Ballet,

00:24:03.000 --> 00:24:06.680
you could look at anybody,
and it was upright!

00:24:06.680 --> 00:24:07.560
It was all upright!

00:24:07.560 --> 00:24:10.920
Like, body and arms
and legs moving, you know?

00:24:10.920 --> 00:24:13.080
Any kind of dance--
modern dance, whatever.

00:24:13.080 --> 00:24:15.360
You know, maybe they would go
to the floor sometime,

00:24:15.360 --> 00:24:19.600
but it would still basically
be this, you know, whatever.

00:24:19.600 --> 00:24:25.600
And with Trisha, suddenly,
that\'s not true anymore.

00:24:25.600 --> 00:24:27.160
It\'s not what she did.

00:24:27.160 --> 00:24:31.520
She turned everything
in every direction,

00:24:31.520 --> 00:24:32.960
and it\'s great.

00:24:32.960 --> 00:24:39.280
So, I fear that people
don\'t recognize

00:24:39.280 --> 00:24:40.880
how radical that was,

00:24:40.880 --> 00:24:43.840
that they say,
\"Oh, you can notate it.\"

00:24:43.840 --> 00:24:46.040
I don\'t think so.

00:25:23.800 --> 00:25:24.600
I can just tell you,

00:25:24.600 --> 00:25:29.520
Trisha had an image
in one of her other dances.

00:25:42.520 --> 00:25:44.160
...and you go like that.

00:25:44.160 --> 00:25:45.200
So you\'re like...

00:25:45.200 --> 00:25:48.040
pretending that
you\'re in the air.

00:25:48.040 --> 00:25:49.440
And this is a lot like that.

00:25:49.440 --> 00:25:52.080
It\'s like you go,
\"Oh, I\'m there forever,\"

00:25:52.080 --> 00:25:54.600
but you\'re not, right?

00:25:54.600 --> 00:25:56.240
Right, right.

00:25:56.240 --> 00:25:57.160
But it\'s light.

00:25:57.160 --> 00:25:58.680
-Like floating.
-Yes, floating.

00:25:58.680 --> 00:26:02.760
\"I could float here forever,
but I\'m not!\"

00:26:02.760 --> 00:26:03.280
Yeah.

00:26:03.280 --> 00:26:06.520
So, my job is to be--
we call it in America--

00:26:06.520 --> 00:26:10.200
people don\'t have records
anymore, right?

00:26:10.200 --> 00:26:11.720
Right, you have records, discs--

00:26:11.720 --> 00:26:13.760
Oh, they\'re trendy now, right?

00:26:13.760 --> 00:26:14.520
It is trendy.

00:26:14.520 --> 00:26:17.360
But when you have one
with a skip,

00:26:17.360 --> 00:26:20.040
we call it a broken record.

00:26:34.840 --> 00:26:36.680
Here.

00:26:46.960 --> 00:26:51.440
Right? Because when everybody
is on the same page,

00:26:51.440 --> 00:26:53.240
here, here, here,

00:26:53.240 --> 00:26:57.120
and you all go back
the same way, it\'s...

00:26:57.120 --> 00:26:57.920
(kissing)

00:26:57.920 --> 00:27:00.960
...thrilling, very exciting.

00:27:00.960 --> 00:27:04.080
So, we go here,

00:27:04.080 --> 00:27:07.320
down, down-up, down,

00:27:07.320 --> 00:27:08.640
up top.

00:27:08.640 --> 00:27:11.000
-Nice.
-Yeah.

00:27:14.040 --> 00:27:15.640
-Okay?
-It\'s so beautiful.

00:27:15.640 --> 00:27:17.960
It\'s so nice to be reminded

00:27:17.960 --> 00:27:19.600
\'cause it\'s so buoyant.

00:27:19.600 --> 00:27:21.280
Yeah, it\'s very buoyant,
very nice.

00:27:21.280 --> 00:27:24.680
And then it makes it really fun
to go all the way around

00:27:24.680 --> 00:27:28.480
\'cause you have
a good start, right?

00:27:28.480 --> 00:27:30.560
Okay. Ready?

00:27:32.520 --> 00:27:33.560
And...

00:27:33.560 --> 00:27:35.360
(whistling)

00:27:36.480 --> 00:27:38.400
Beautiful.

00:27:38.400 --> 00:27:39.920
Yes!

00:27:40.560 --> 00:27:42.880
That\'s a room full of people
moving together.

00:27:42.880 --> 00:27:45.280
-I know, that was amazing.
-That was beautiful.

00:27:45.280 --> 00:27:47.880
What was so great about that...

00:27:55.560 --> 00:27:57.280
It was really good.

00:28:58.400 --> 00:29:00.600
I just would say,
in terms of--

00:29:00.600 --> 00:29:02.600
I\'m facing the wrong way--

00:29:02.600 --> 00:29:05.400
um, in terms of these,

00:29:05.400 --> 00:29:07.360
like, the more you can feel

00:29:07.360 --> 00:29:12.920
like you have water
where your hips are.

00:29:16.800 --> 00:29:22.040
So here, it\'s almost
like we\'ve got...

00:29:22.040 --> 00:29:22.920
the low,

00:29:22.920 --> 00:29:27.360
and then it\'s just
easily moving a little bit,

00:29:27.360 --> 00:29:29.200
a little bit of movement

00:29:29.200 --> 00:29:31.280
in that nice bowl of water.

00:29:31.280 --> 00:29:36.720
-Just a little bit.
-Just a little bit of water

00:29:36.720 --> 00:29:38.400
moving.

00:29:39.440 --> 00:29:40.800
So...

00:30:01.920 --> 00:30:03.280
So...

00:30:07.800 --> 00:30:10.480
I think it\'s nice
to make the connection

00:30:10.480 --> 00:30:12.800
with this one, too...

00:30:16.920 --> 00:30:18.520
...because you\'re going

00:30:18.520 --> 00:30:20.360
down-up, right?

00:30:20.360 --> 00:30:21.680
You\'re going...

00:30:21.680 --> 00:30:24.840
(humming)

00:30:24.840 --> 00:30:26.240
So the weight is always

00:30:26.240 --> 00:30:30.720
sink-rise, sink-rise,
sink-rise...

00:30:36.800 --> 00:30:41.720
So, remember,
this is like this,

00:30:41.720 --> 00:30:46.520
basically around the world
together.

00:30:46.520 --> 00:30:48.760
Then it opens.

00:30:48.760 --> 00:30:49.680
Yeah?

00:30:49.680 --> 00:30:52.760
(humming)

00:30:56.920 --> 00:30:58.280
Yeah.

00:31:00.800 --> 00:31:02.800
Is it clear?

00:31:02.800 --> 00:31:05.600
So we connected
everything beautifully,

00:31:05.600 --> 00:31:08.640
and I think everyone\'s arms
are pretty good here,

00:31:08.640 --> 00:31:10.920
but we might as well say, right?

00:31:10.920 --> 00:31:12.760
We\'ll just say what they are.

00:31:12.760 --> 00:31:14.120
Mmm, mmm,

00:31:14.120 --> 00:31:16.960
left, right opens,

00:31:16.960 --> 00:31:19.240
left, right,

00:31:19.240 --> 00:31:20.360
left across.

00:31:20.360 --> 00:31:25.000
Okay, there are a couple things
that I see with this.

00:31:25.000 --> 00:31:28.800
Again, it\'s great
that we have more time

00:31:28.800 --> 00:31:30.840
to let this sink in.

00:31:30.840 --> 00:31:32.320
I think we were
talking about it.

00:31:32.320 --> 00:31:34.880
It\'s one of those ones
that\'s like acyclone.

00:31:34.880 --> 00:31:39.400
You know, it\'s like a cyclone,
and things are flying off of it.

00:31:39.400 --> 00:31:41.600
Sort of like the cyclone
picks things up

00:31:41.600 --> 00:31:45.360
and they get
thrown around, right?

00:31:45.360 --> 00:31:48.040
So, here,

00:31:48.040 --> 00:31:50.400
in, out.

00:31:50.400 --> 00:31:51.880
In,

00:31:51.880 --> 00:31:53.560
across, and then back.

00:31:53.560 --> 00:31:56.000
That\'s--that\'s the shape of it.

00:31:56.000 --> 00:31:58.760
Right, I didn\'t do
the knee though.

00:31:58.760 --> 00:32:01.040
Here.

00:32:01.040 --> 00:32:03.040
Knee, right?

00:32:03.040 --> 00:32:04.480
Knee.

00:32:04.480 --> 00:32:07.520
And now there is a thing--

00:32:07.520 --> 00:32:11.200
there is a thing
where it\'s like

00:32:11.200 --> 00:32:14.040
the upper body...

00:32:14.040 --> 00:32:14.880
the legs are falling,

00:32:14.880 --> 00:32:20.760
and the upper body takes
a tad longer to fall, right?

00:32:20.760 --> 00:32:21.840
Right?

00:32:21.840 --> 00:32:24.680
So, without glasses.

00:32:27.560 --> 00:32:28.520
I want to do it facing you,

00:32:28.520 --> 00:32:32.960
or I want to do it
so you can see the fall, okay?

00:32:32.960 --> 00:32:38.200
So, I still feel like
that scary thing

00:32:38.200 --> 00:32:40.640
can happen a little more.

00:32:40.640 --> 00:32:43.560
It can happen a little bit more.

00:32:43.560 --> 00:32:44.680
Right?

00:32:44.680 --> 00:32:46.280
So, let me see.

00:32:46.280 --> 00:32:47.960
If I\'m on stage

00:32:47.960 --> 00:32:51.560
and that\'s my front,
so you can see my fall,

00:32:51.560 --> 00:32:53.840
I go like that...

00:32:57.200 --> 00:32:59.280
Whoa!

00:32:59.280 --> 00:33:00.000
Right?

00:33:00.000 --> 00:33:02.080
I am really falling, right?

00:33:02.080 --> 00:33:04.440
That was amazing.

00:33:12.920 --> 00:33:15.640
Yeah, yeah.

00:33:15.640 --> 00:33:19.040
So, if you bend
your knees a lot,

00:33:19.040 --> 00:33:20.800
you\'re saving yourself.

00:33:20.800 --> 00:33:22.880
You have to let your hips--

00:33:22.880 --> 00:33:26.760
you have to let your knees
not be bent.

00:33:26.760 --> 00:33:28.360
Yes!

00:33:28.360 --> 00:33:29.960
Well...

00:33:29.960 --> 00:33:31.480
close.

00:33:32.600 --> 00:33:35.920
Yeah, I don\'t know,
there\'s some--

00:33:37.200 --> 00:33:39.040
A little lighter,
there\'s a way

00:33:39.040 --> 00:33:40.720
that it could be
lighter for you.

00:33:40.720 --> 00:33:42.680
I don\'t know how.

00:33:42.680 --> 00:33:45.120
A little bit lighter.

00:33:55.800 --> 00:33:59.480
Okay, watch out where
other legs are, right?

00:33:59.480 --> 00:34:02.720
Watch out for other tornadoes.

00:34:04.440 --> 00:34:05.480
Okay.

00:34:05.480 --> 00:34:07.080
Does everybody know
where you are?

00:34:07.080 --> 00:34:09.720
Caroline\'s in the right place.

00:34:09.720 --> 00:34:11.440
Laurence, face back.

00:34:11.440 --> 00:34:14.120
We\'re going from here,
we changed.

00:34:14.120 --> 00:34:15.240
Yeah, okay.

00:34:15.240 --> 00:34:17.080
Ready, and...

00:34:17.080 --> 00:34:19.520
(humming)

00:34:23.240 --> 00:34:25.600
Oh, man!

00:34:25.600 --> 00:34:28.560
-That was fantastic.
-What do you think? Yay!

00:34:28.560 --> 00:34:30.320
That was the best one.

00:34:30.320 --> 00:34:31.160
That was the best one.

00:34:31.160 --> 00:34:34.000
I don\'t know about everybody,
if it felt okay,

00:34:34.000 --> 00:34:38.680
but as a group,
it was the best.

00:34:38.680 --> 00:34:40.520
That was great.

00:34:41.280 --> 00:34:46.000
Lisa has such
a strong connection

00:34:46.000 --> 00:34:47.240
to the original movement

00:34:47.240 --> 00:34:49.320
\'cause she made it
with Trisha,

00:34:49.320 --> 00:34:52.160
and it\'s wonderful,
and I actually think

00:34:52.160 --> 00:34:54.720
the dancers here
are really, really lucky

00:34:54.720 --> 00:35:00.360
to have the knowledge
come from her to them,

00:35:00.360 --> 00:35:02.520
and she\'s kind of--

00:35:02.520 --> 00:35:04.880
she talks about
a tornado sometimes,

00:35:04.880 --> 00:35:08.640
and she\'s kind of
a tornado herself

00:35:08.640 --> 00:35:13.280
in a calm but very, uh...

00:35:14.640 --> 00:35:17.120
...very energetic way.

00:35:17.120 --> 00:35:18.880
Just beautiful.

00:36:45.560 --> 00:36:48.320
Good, good, good.

00:36:49.360 --> 00:36:51.440
So, you guys, um,

00:36:51.440 --> 00:36:52.960
as you practice this,

00:36:52.960 --> 00:36:57.000
the women on the side
need to help

00:36:57.000 --> 00:37:00.960
the women on the inside
go to the right place.

00:37:00.960 --> 00:37:03.880
So you don\'t want to stand away

00:37:03.880 --> 00:37:06.960
and then--and then enter here,

00:37:06.960 --> 00:37:09.600
\'cause everybody can see you.

00:37:09.600 --> 00:37:11.800
Do you understand what I mean?

00:37:11.800 --> 00:37:14.440
So, you need to be

00:37:14.440 --> 00:37:20.000
a little more where
you need them to come.

00:37:30.800 --> 00:37:33.560
This one is up here.

00:37:41.400 --> 00:37:44.560
This one is up here, right?

00:37:47.040 --> 00:37:48.600
Or is it down?

00:37:48.600 --> 00:37:50.520
We put it down.

00:38:34.320 --> 00:38:35.800
So, you know, I realized

00:38:35.800 --> 00:38:38.560
part of what we\'ve got
going on here is

00:38:38.560 --> 00:38:40.040
it\'s a meeting of worlds.

00:38:40.040 --> 00:38:45.480
Like, I don\'t have the kind
of training that you have,

00:38:45.480 --> 00:38:49.600
and most of you don\'t have the
kind of training I have either,

00:38:49.600 --> 00:38:54.320
so we\'re meeting in the middle
of those things,

00:38:54.320 --> 00:38:58.160
and part of why I think
\"Glacial Decoy,\" in particular,

00:38:58.160 --> 00:39:01.080
looks very beautiful
on the ballet

00:39:01.080 --> 00:39:04.360
is that you finish
the shapes in a way

00:39:04.360 --> 00:39:09.120
that a contemporary dancer
might not finish them.

00:39:09.120 --> 00:39:12.520
So, let\'s talk about
\"Glacial Decoy.\"

00:39:12.520 --> 00:39:16.960
To talk about it,
we have to talk about

00:39:16.960 --> 00:39:18.360
what came before it,

00:39:18.360 --> 00:39:25.080
because \"Glacial Decoy\"
was a complete turning point.

00:39:25.080 --> 00:39:29.440
Complete, complete
turning point.

00:39:30.760 --> 00:39:33.640
Who has ever seen this image?

00:39:33.640 --> 00:39:34.720
Can you see it?

00:39:34.720 --> 00:39:36.760
Well enough?
You want to move in?

00:39:36.760 --> 00:39:38.880
Why don\'t you move in.

00:39:40.200 --> 00:39:41.080
What is that?

00:39:41.080 --> 00:39:42.880
This is a human being.

00:39:42.880 --> 00:39:46.280
In fact, it is
Trisha Brown\'s husband.

00:39:46.280 --> 00:39:52.720
This is a six-story or whatever
New York City loft building.

00:39:52.720 --> 00:39:55.080
This is a rope.

00:39:55.080 --> 00:39:59.760
He has on
mountain-climbing harness.

00:39:59.760 --> 00:40:02.160
There\'s someone down below,

00:40:02.160 --> 00:40:05.880
and I think there\'s
someone up above, also,

00:40:05.880 --> 00:40:08.200
helping him be secure.

00:40:08.200 --> 00:40:10.720
The building is like this.

00:40:10.720 --> 00:40:12.520
He starts like this

00:40:12.520 --> 00:40:14.480
and then goes like this

00:40:14.480 --> 00:40:21.040
and walks down the side
of the building.

00:40:21.760 --> 00:40:23.200
This dance is called

00:40:23.200 --> 00:40:26.720
\"Man Walking Down
the Side of a Building.\"

00:40:26.720 --> 00:40:29.000
(laughter)

00:40:48.560 --> 00:40:51.400
And about 30 people saw it,

00:40:51.400 --> 00:40:56.240
standing in a little courtyard
in New York City,

00:40:56.240 --> 00:41:01.680
and it\'s changed
contemporary dance...

00:41:03.240 --> 00:41:06.400
...because, along with that,

00:41:06.400 --> 00:41:08.440
Trisha was doing
things outdoors.

00:41:08.440 --> 00:41:10.360
This piece is called
\"Roof Piece.\"

00:41:10.360 --> 00:41:15.080
These are all from
the early 1970s.

00:41:17.040 --> 00:41:19.720
Friend on a roof,
another friend on another roof,

00:41:19.720 --> 00:41:23.480
another friend on another,
another on another roof,

00:41:23.480 --> 00:41:26.320
and in the film that I saw,

00:41:26.320 --> 00:41:28.440
they were all wearing red

00:41:28.440 --> 00:41:29.960
so you could spot them,

00:41:29.960 --> 00:41:33.440
and there\'s a kind
of semaphore movement.

00:41:33.440 --> 00:41:34.560
You know, it\'s like,

00:41:34.560 --> 00:41:40.200
these kind of really clear,
gestural things, whatever,

00:41:40.200 --> 00:41:43.920
and it\'s like
the game Telephone

00:41:43.920 --> 00:41:45.920
where I say
blah-blah-blah-blah,

00:41:45.920 --> 00:41:47.680
and then you say it
and then you say it

00:41:47.680 --> 00:41:49.320
and then you say it
and you say it,

00:41:49.320 --> 00:41:51.680
and it just goes on
down the line.

00:41:51.680 --> 00:41:53.280
But it\'s very beautiful

00:41:53.280 --> 00:41:58.400
to have the landscape
populated like that.

00:41:58.400 --> 00:42:01.840
So, that\'s called \"Roof Piece.\"

00:42:02.200 --> 00:42:06.520
Let\'s see what else--oh,
those are the people looking up.

00:42:06.520 --> 00:42:09.040
Not even 25.

00:42:09.040 --> 00:42:11.440
Twelve people?

00:42:11.440 --> 00:42:12.280
I don\'t know.

00:42:12.280 --> 00:42:16.520
That dance, and a number
of the other very early dances,

00:42:16.520 --> 00:42:17.720
have been done again recently

00:42:17.720 --> 00:42:22.360
for the 40th anniversary
of Trisha Brown Dance Company.

00:42:22.360 --> 00:42:24.960
So, these are the early dances

00:42:24.960 --> 00:42:27.960
in that realm
of walking down a building

00:42:27.960 --> 00:42:31.840
where you\'re messing
with gravity.

00:42:31.840 --> 00:42:34.520
You\'re messing around
with gravity.

00:42:34.520 --> 00:42:38.440
It\'s just two people walking--
we can try this.

00:42:38.440 --> 00:42:41.560
It\'s just two people walking,

00:42:41.560 --> 00:42:45.160
but they get at this angle

00:42:45.160 --> 00:42:49.520
that they could never do
by themselves, right?

00:42:49.520 --> 00:42:51.040
Because they have--

00:42:51.040 --> 00:42:54.240
this is like the basis
of the whole thing--

00:42:54.240 --> 00:42:56.680
because of the counterbalance.

00:42:56.680 --> 00:42:59.200
So it\'s like...

00:42:59.200 --> 00:43:00.360
How do I do it?

00:43:00.360 --> 00:43:01.680
Okay, these are the feet,

00:43:01.680 --> 00:43:07.120
and it\'s this
that makes that possible.

00:43:08.080 --> 00:43:13.320
So, tension, weight,

00:43:13.320 --> 00:43:15.200
interesting task,

00:43:15.200 --> 00:43:16.560
and they fall down!

00:43:16.560 --> 00:43:18.440
You see the video
and they\'re like,

00:43:18.440 --> 00:43:22.240
tumble down, get back up,
tumble down, get back up.

00:43:22.240 --> 00:43:25.040
It\'s all like an experiment.

00:43:25.040 --> 00:43:28.920
What do we--what happens
if we do this?

00:43:39.200 --> 00:43:41.760
(laughter)

00:44:19.800 --> 00:44:22.320
Walking down
the side of a building;

00:44:22.320 --> 00:44:24.200
walking on walls.

00:44:24.200 --> 00:44:27.760
Similar idea,
but you\'re held by the side,

00:44:27.760 --> 00:44:31.080
and there\'s a track here
and a track here,

00:44:31.080 --> 00:44:35.760
and there\'s like six
or seven dancers,

00:44:35.760 --> 00:44:37.520
quite a few,
and they\'re walking

00:44:37.520 --> 00:44:40.480
at different speeds
and different heights,

00:44:40.480 --> 00:44:43.440
and there are shadows,

00:44:43.440 --> 00:44:46.480
and it\'s so beautiful.

00:44:48.280 --> 00:44:50.120
But it\'s an illusion

00:44:50.120 --> 00:44:53.560
because if you\'re held here,

00:44:53.560 --> 00:44:57.280
you\'re--ordinarily,
if you\'re held like that,

00:44:57.280 --> 00:45:02.200
say this is my body
held like that,

00:45:02.200 --> 00:45:04.520
it would do that, right?

00:45:04.520 --> 00:45:08.840
So there\'s effort to do that.

00:45:08.840 --> 00:45:10.240
And that\'s an illusion.

00:45:10.240 --> 00:45:14.120
Just the same way walking
down the side of a building

00:45:14.120 --> 00:45:16.360
is not the way
the body works.

00:45:16.360 --> 00:45:20.360
You would be like this,
you know, in your harness.

00:45:20.360 --> 00:45:23.200
So, it\'s all this effort

00:45:23.200 --> 00:45:25.880
to make the illusion
of the line.

00:45:25.880 --> 00:45:27.320
And we work with that, too.

00:45:27.320 --> 00:45:29.440
It\'s like in the dance \"Locus,\"

00:45:29.440 --> 00:45:31.280
like you hold a line,

00:45:31.280 --> 00:45:32.760
you hold a line,

00:45:32.760 --> 00:45:34.440
and then you fall out of it.

00:45:34.440 --> 00:45:35.560
You, like, go for the edge

00:45:35.560 --> 00:45:38.520
and then you use--
you fall out of it.

00:45:38.520 --> 00:45:41.600
But this is my idea--

00:45:41.600 --> 00:45:43.360
I\'m sure it\'s true--

00:45:43.360 --> 00:45:46.960
that all this experimentation

00:45:46.960 --> 00:45:49.800
was what formed the basis

00:45:49.800 --> 00:45:52.240
of the way she worked
with movement

00:45:52.240 --> 00:45:54.520
with just a standing body,

00:45:54.520 --> 00:45:57.200
just like us in the room,

00:45:57.200 --> 00:45:58.480
no equipment,

00:45:58.480 --> 00:46:03.840
was formed through
doing these things.

00:46:12.040 --> 00:46:15.040
Can I say one more thing about--

00:46:15.040 --> 00:46:15.880
From this place,

00:46:15.880 --> 00:46:20.320
I\'m so happy with how you all
are finding your curves.

00:46:20.320 --> 00:46:21.040
It\'s very nice.

00:46:21.040 --> 00:46:24.040
You\'re all finding
beautiful, beautiful curves now.

00:46:24.040 --> 00:46:27.160
But you want to be able
to go two directions,

00:46:27.160 --> 00:46:32.240
that you\'re going here,
your hands are going there,

00:46:32.240 --> 00:46:33.680
and you\'re traveling there,

00:46:33.680 --> 00:46:38.160
so you\'re really showing
both things.

00:46:38.160 --> 00:46:42.480
You\'re really showing--right.

00:46:42.480 --> 00:46:44.400
Yeah.

00:46:46.360 --> 00:46:48.600
That\'s beautiful.

00:46:52.760 --> 00:46:57.720
That\'s a real
digest-your-lunch thing.

00:47:00.000 --> 00:47:02.120
It is, right?

00:47:03.200 --> 00:47:04.840
-Oh.
-I love that.

00:47:04.840 --> 00:47:09.000
That\'s so nice, the, um...

00:47:09.800 --> 00:47:11.280
-...that I danced.
-You didn\'t know that?

00:47:11.280 --> 00:47:14.040
-No, I didn\'t.
-You didn\'t know that?

00:47:14.040 --> 00:47:14.920
No!

00:47:14.920 --> 00:47:17.280
So lucky, you guys are.

00:47:17.280 --> 00:47:18.880
So...

00:47:19.640 --> 00:47:21.280
-It\'s beautiful.
-Yeah.

00:47:21.280 --> 00:47:24.920
And one thing I really like
from seeing this today

00:47:24.920 --> 00:47:27.280
is that Lisa is really clear,

00:47:27.280 --> 00:47:28.200
like, she says,

00:47:28.200 --> 00:47:31.360
\"I\'m gonna go
two directions.\"

00:47:31.360 --> 00:47:36.160
So you don\'t actually have time
to get two...

00:47:38.000 --> 00:47:40.640
...but maybe to move away,

00:47:40.640 --> 00:47:43.880
and it actually gives it
a beautiful rhythm.

00:47:43.880 --> 00:47:46.440
Lighter, maybe.

00:47:46.440 --> 00:47:49.160
To move away--yeah, whoa!

00:47:49.160 --> 00:47:50.960
That looked nice, right?

00:47:50.960 --> 00:47:52.280
Mm-hm, mm-hm.

00:47:52.280 --> 00:47:53.720
Good.

00:47:56.600 --> 00:47:58.120
Beautiful.

00:47:58.120 --> 00:48:00.840
(humming)

00:48:16.600 --> 00:48:20.120
Um, okay, so this
is broken record.

00:48:20.120 --> 00:48:24.760
The hips stay forward
when you do this.

00:48:24.760 --> 00:48:28.360
The emphasis is on
up and bottom,

00:48:28.360 --> 00:48:31.720
two directions
against each other, right?

00:48:31.720 --> 00:48:37.440
But the way you get that
is you\'re going up,

00:48:37.440 --> 00:48:39.280
you turn,

00:48:39.280 --> 00:48:42.080
and then you just get to do it

00:48:42.080 --> 00:48:43.880
like that, right there.

00:48:43.880 --> 00:48:45.040
You let this go,

00:48:45.040 --> 00:48:47.520
because I\'m still seeing that,

00:48:47.520 --> 00:48:50.000
like the leg come up
on certain people.

00:48:50.000 --> 00:48:52.600
So if I do it facing you,

00:48:52.600 --> 00:48:53.640
what is it?

00:48:53.640 --> 00:48:58.440
I go...this is
a take-off-the-glasses thing.

00:48:58.440 --> 00:49:00.600
So you go...

00:49:00.600 --> 00:49:03.320
(humming)

00:49:04.400 --> 00:49:07.080
Oh, right, and the wind-up,

00:49:07.080 --> 00:49:08.520
right?

00:49:08.520 --> 00:49:11.680
So, you go...

00:49:11.680 --> 00:49:14.720
(humming)

00:49:14.720 --> 00:49:16.600
Wind-up.

00:49:16.600 --> 00:49:18.480
Right, and let that go.

00:49:18.480 --> 00:49:22.280
People are holding that leg.

00:49:22.280 --> 00:49:24.360
Right?

00:49:24.360 --> 00:49:25.160
Right.

00:49:25.160 --> 00:49:27.800
How do you make it light?

00:49:32.720 --> 00:49:36.520
-Use your plié.
-How do we do that?

00:49:36.520 --> 00:49:39.000
We go...

00:49:39.000 --> 00:49:41.840
(humming)

00:49:44.000 --> 00:49:47.920
The whole thing is
that this is here,

00:49:47.920 --> 00:49:49.920
we\'re gonna trade places.

00:49:49.920 --> 00:49:53.680
This is here and I\'m
gonna put this here.

00:49:55.040 --> 00:49:58.760
And you really let
yourself, like...

00:49:58.760 --> 00:50:03.240
You let yourself
take it up on the landing.

00:51:04.440 --> 00:51:06.360
Do you want us to close this?

00:51:06.360 --> 00:51:07.360
It\'s very bright.

00:51:07.360 --> 00:51:11.680
-We can do nothing.
-Oh, we can do nothing.

00:51:11.680 --> 00:51:14.360
Okay, okay.

00:51:16.080 --> 00:51:17.560
All right.

00:51:17.720 --> 00:51:21.240
So, Brigitte,
this is the first time...

00:53:21.320 --> 00:53:24.280
Try to stay in line.

00:56:09.880 --> 00:56:12.840
(applause)

00:56:18.360 --> 00:56:20.120
(laughing)

00:56:20.120 --> 00:56:21.960
She\'s always smiling.

00:56:21.960 --> 00:56:23.560
Yeah.

00:58:26.360 --> 00:58:29.120
(slide projector clicking)

00:59:59.240 --> 01:00:05.000
That I see people\'s heads
like this sometimes,

01:00:05.000 --> 01:00:10.160
that I see people\'s shoulders
like this sometimes,

01:00:10.160 --> 01:00:14.680
that I see people\'s hands
like this sometimes,

01:00:14.680 --> 01:00:17.440
and that I see people\'s spines
like this.

01:00:17.440 --> 01:00:22.120
The legs are getting
much better.

01:00:22.120 --> 01:00:24.440
It\'s like, it\'s syncing here,

01:00:24.440 --> 01:00:31.360
but I think here is where
most people need a remember.

01:00:33.280 --> 01:00:36.440
So, I understand...

01:00:49.440 --> 01:00:52.160
Quality of head,

01:00:52.160 --> 01:00:56.160
heavy arms, easy spine,

01:00:56.160 --> 01:00:57.120
weight,

01:00:57.120 --> 01:00:59.760
able to bend knees, and feet.

01:00:59.760 --> 01:01:01.480
Okay.

01:01:07.320 --> 01:01:08.840
Yeah.

01:01:10.240 --> 01:01:14.520
Trisha has gathered
people in her work

01:01:14.520 --> 01:01:19.160
who have tremendous
passion for it,

01:01:19.160 --> 01:01:23.040
and I have felt so lucky

01:01:23.040 --> 01:01:24.800
to work with Carolyn Lucas

01:01:24.800 --> 01:01:28.160
on this reconstruction
this time.

01:01:28.160 --> 01:01:31.160
We have complemented
each other very well.

01:01:31.160 --> 01:01:35.800
I have the movement
really in my bones, we say.

01:01:35.800 --> 01:01:37.040
And she really has the sense

01:01:37.040 --> 01:01:39.400
of the total vision
and the structure

01:01:39.400 --> 01:01:42.600
in her awareness
very, very fully.

01:01:42.600 --> 01:01:47.440
And I feel like that
complementary quality

01:01:47.440 --> 01:01:50.240
has allowed us both to relax

01:01:50.240 --> 01:01:51.320
and learn.

01:01:51.320 --> 01:01:55.840
So, it\'s, again,
it\'s an alive process

01:01:55.840 --> 01:01:58.640
where we\'re both understanding

01:01:58.640 --> 01:02:02.480
what is of great value
in this dance

01:02:02.480 --> 01:02:04.720
and showing it
to each other.

01:02:04.720 --> 01:02:07.640
I think that that
has made a situation

01:02:07.640 --> 01:02:09.040
where the dancers
recognize it

01:02:09.040 --> 01:02:12.760
as, you know, not just opening
a page from a history book,

01:02:12.760 --> 01:02:16.240
but engaging with
a very alive process.

01:02:16.240 --> 01:02:21.440
So, I feel really fortunate
that we could do it that way.

01:02:23.400 --> 01:02:25.080
Oh, I see what it is.

01:02:25.080 --> 01:02:28.920
We were doing that first step
on the diagonal,

01:02:28.920 --> 01:02:31.280
and then we needed to change it.

01:02:31.280 --> 01:02:32.640
Oh.

01:02:32.640 --> 01:02:34.200
Yeah.

01:03:32.160 --> 01:03:33.200
Nice.

01:03:33.200 --> 01:03:34.960
Really good.

01:03:46.000 --> 01:03:46.920
It\'s better.

01:03:46.920 --> 01:03:48.760
The proximity is good.

01:03:48.760 --> 01:03:50.320
Mm-hm.

01:04:02.040 --> 01:04:04.880
Trisha had
long-standing relationships

01:04:04.880 --> 01:04:07.600
with a lot of visual artists.

01:04:07.600 --> 01:04:11.040
So, Robert Rauschenberg
was one of those people,

01:04:11.040 --> 01:04:18.200
and Rauschenberg decided
to give this dance costumes.

01:04:18.200 --> 01:04:19.600
These are silk.

01:04:19.600 --> 01:04:21.960
They were--I don\'t know
what they are now.

01:04:21.960 --> 01:04:22.640
Probably silk.

01:04:22.640 --> 01:04:25.280
And they\'re just pleated
and they\'re transparent.

01:04:25.280 --> 01:04:28.480
Originally we were supposed
to wear nothing underneath them.

01:04:28.480 --> 01:04:30.920
I don\'t know what you do now,
I forget,

01:04:30.920 --> 01:04:34.600
but I\'m sure you wear underwear.

01:04:34.600 --> 01:04:36.920
And, uh...

01:04:36.920 --> 01:04:42.000
And the kind of correspondence
to, like, a ballet gown

01:04:42.000 --> 01:04:46.440
or something, it\'s kind of
interesting, isn\'t it?

01:04:46.440 --> 01:04:49.040
\"Glacial Decoy\" is in silence,

01:04:49.040 --> 01:04:50.520
but--and this is kind of funny--

01:04:50.520 --> 01:04:56.440
when we first did it,
which was in 1979,

01:04:56.440 --> 01:05:01.880
you would hear the sound
of the slide projectors.

01:05:01.880 --> 01:05:06.320
(mimicking projector clicking)

01:05:06.520 --> 01:05:08.040
Or maybe it\'s one,
I don\'t remember

01:05:08.040 --> 01:05:10.400
if it\'s that\'s many--
if you hear that many--

01:05:10.400 --> 01:05:12.800
Maybe you just hear...

01:05:12.800 --> 01:05:15.160
You\'ll hear when it is,
I don\'t know.

01:05:15.160 --> 01:05:17.800
But I just find that so cool.

01:05:17.800 --> 01:05:22.040
And the images, it\'s like
the only dance I can think of

01:05:22.040 --> 01:05:22.800
where it\'s like,

01:05:22.800 --> 01:05:24.160
\"Okay, I know I\'m
in the right place

01:05:24.160 --> 01:05:27.920
because the head of the cow
is right there right now.\"

01:05:27.920 --> 01:05:29.480
You know, right?\"

01:05:29.480 --> 01:05:33.800
Um, I mean, the majority
of the photos are--

01:05:33.800 --> 01:05:36.360
a lot of them
were taken in Florida

01:05:36.360 --> 01:05:38.360
around where he was living,

01:05:38.360 --> 01:05:42.640
and they\'re a little bit--
they have a quality

01:05:42.640 --> 01:05:45.600
of a kind of, um,

01:05:45.600 --> 01:05:49.960
rough, rusty,

01:05:49.960 --> 01:05:55.800
either agricultural
or industrial or poor

01:05:55.800 --> 01:05:57.960
American landscape.

01:05:57.960 --> 01:06:02.840
Um, you know, there are
sort of folk art ideas in them,

01:06:02.840 --> 01:06:06.960
and, you know,
an old railroad sign in them

01:06:06.960 --> 01:06:09.480
for his signature, and, um,

01:06:09.480 --> 01:06:12.240
you know, that\'s somewhat
my interpretation,

01:06:12.240 --> 01:06:13.240
but, you know, there\'s--

01:06:13.240 --> 01:06:15.640
I guess there\'s
a palm tree here or there.

01:06:15.640 --> 01:06:17.920
There\'s a cow,
there\'s things

01:06:17.920 --> 01:06:19.760
that you find
in the landscape.

01:06:19.760 --> 01:06:22.240
I don\'t remember interiors

01:06:22.240 --> 01:06:26.440
in the collection
of photos, really.

01:06:26.440 --> 01:06:30.040
Don\'t remember interiors.

01:06:30.040 --> 01:06:33.000
Something to see
with this idea

01:06:33.000 --> 01:06:37.480
of first (unintelligible) piece?

01:06:37.480 --> 01:06:41.280
You mean outdoors,
like bring the outdoors in?

01:06:41.280 --> 01:06:44.240
To have outside in the theater.

01:06:44.240 --> 01:06:46.920
Yeah, I don\'t know.

01:06:46.920 --> 01:06:48.800
Maybe.

01:06:48.800 --> 01:06:51.040
Maybe.

01:06:51.040 --> 01:06:52.120
Yeah, I don\'t know.

01:06:52.120 --> 01:06:53.440
But it\'s so formalized,

01:06:53.440 --> 01:06:54.880
you know, it\'s black and white,

01:06:54.880 --> 01:06:58.840
it\'s huge, it\'s crisp, it\'s...

01:06:58.840 --> 01:07:02.440
it\'s distorted in that way.

01:07:02.440 --> 01:07:03.520
I don\'t know.

01:07:03.520 --> 01:07:06.080
And when you were dancing,

01:07:06.080 --> 01:07:07.680
did you see the photos?

01:07:07.680 --> 01:07:11.000
Yeah, that\'s really fun.

01:07:11.000 --> 01:07:12.480
Yes.

01:07:12.480 --> 01:07:13.800
Very much so.

01:07:13.800 --> 01:07:19.000
I mean, you know,
dancing this dance...

01:07:19.000 --> 01:07:22.080
takes attention
in many areas.

01:07:22.080 --> 01:07:23.760
Like, you need to--

01:07:23.760 --> 01:07:25.800
the movement needs to be right,

01:07:25.800 --> 01:07:27.760
the timing needs to be right,

01:07:27.760 --> 01:07:30.040
the space needs to be right,

01:07:30.040 --> 01:07:32.240
and then beyond that,

01:07:32.240 --> 01:07:34.920
whatever attention
you have left,

01:07:34.920 --> 01:07:39.760
you can--you can give
to those photos,

01:07:39.760 --> 01:07:42.800
and, yeah, we\'d see them,

01:07:42.800 --> 01:07:46.840
and especially in that slow part
that we were practicing today.

01:07:46.840 --> 01:07:50.800
Like, I don\'t know if it comes
out exactly the same anymore,

01:07:50.800 --> 01:07:54.080
but you would get into a pose
and maybe you would say,

01:07:54.080 --> 01:07:55.240
\"Oh, here\'s the cow now,\"

01:07:55.240 --> 01:07:57.320
and then you\'d get into
another pose and you\'d go,

01:07:57.320 --> 01:08:01.160
\"Oh, right, that\'s when
I should be seeing this image.

01:08:01.160 --> 01:08:02.480
The mailbox.\"

01:08:02.480 --> 01:08:04.400
And, uh, yeah,

01:08:04.400 --> 01:08:09.720
we used them as cues
in that way for some of it.

01:08:09.720 --> 01:08:11.280
-Interesting.
-Yeah.

01:08:11.280 --> 01:08:14.720
Yeah, that\'s very special,
to be able to actually--

01:08:14.720 --> 01:08:17.280
I mean, you feel like
you\'re--yeah,

01:08:17.280 --> 01:08:19.160
you\'re taking part
in an artwork,

01:08:19.160 --> 01:08:22.040
which is a dance,
but there\'s this other artwork

01:08:22.040 --> 01:08:25.000
that you\'re sharing
this space with.

01:08:25.000 --> 01:08:26.800
Just fantastic.

01:08:34.720 --> 01:08:36.960
Yeah, how do we--

01:08:36.960 --> 01:08:39.600
-How do we go out?
-Test.

01:08:39.600 --> 01:08:40.840
Oh, we go this way.

01:08:40.840 --> 01:08:42.880
Okay, is that, Carolyn?

01:08:42.880 --> 01:08:44.520
Yeah.

01:09:24.040 --> 01:09:26.320
(slide projector clicking)

01:12:02.720 --> 01:12:06.520
(whispering)

01:12:22.440 --> 01:12:23.800
How was it?

01:12:23.800 --> 01:12:25.080
Good.

01:12:25.080 --> 01:12:26.600
Yeah!

01:12:26.600 --> 01:12:28.040
(unintelligible)

01:12:28.040 --> 01:12:30.400
...with all the lines...

01:12:30.400 --> 01:12:33.760
Yeah, are we gonna have
all them--all these marks?

01:12:33.760 --> 01:12:37.880
-Because we can see them...
-Too many marks.

01:12:42.280 --> 01:12:46.400
Uh, how do you say,
they improve--

01:12:50.880 --> 01:12:54.240
Really, it\'s like
every big movement

01:12:54.240 --> 01:12:56.120
is amplified.

01:12:56.120 --> 01:12:57.480
It\'s very nice.

01:12:57.480 --> 01:13:00.200
To me, the fact that

01:13:00.200 --> 01:13:03.400
we have a group of dancers

01:13:03.400 --> 01:13:07.360
who are almost in white tulle,

01:13:07.360 --> 01:13:10.000
we\'re almost wearing a tutu...

01:13:10.000 --> 01:13:10.640
(chuckling)

01:13:10.640 --> 01:13:15.160
...but it\'s re-imagined
by Robert Rauschenberg.

01:13:15.160 --> 01:13:17.160
We have a decor,

01:13:17.160 --> 01:13:19.400
but it is black and white,

01:13:19.400 --> 01:13:21.960
and it is...

01:13:21.960 --> 01:13:25.040
some very harsh images,

01:13:25.040 --> 01:13:27.160
harsh, strong contrast

01:13:27.160 --> 01:13:31.160
of, um, sunshine and shadow

01:13:31.160 --> 01:13:34.840
and metal texture with grass

01:13:34.840 --> 01:13:37.680
and waste and animal

01:13:37.680 --> 01:13:42.720
and things that you
would not ordinarily associate

01:13:42.720 --> 01:13:43.760
with a beautiful ballet

01:13:43.760 --> 01:13:48.000
are there sharing
the visual space.

01:13:48.000 --> 01:13:50.960
The fact, to me,
that the curtain

01:13:50.960 --> 01:13:54.320
that will be
in front of the stage

01:13:54.320 --> 01:13:56.440
before the ballet begins

01:13:56.440 --> 01:14:01.080
will have this draped,
ornate decoration on it,

01:14:01.080 --> 01:14:05.440
it\'s the historic curtain,
and the historic curtain rises,

01:14:05.440 --> 01:14:08.640
and then you see
a black and white stage,

01:14:08.640 --> 01:14:13.160
and you see movement
that is full of sweep

01:14:13.160 --> 01:14:15.720
and punch and loft

01:14:15.720 --> 01:14:19.080
and the unexpected.

01:14:20.760 --> 01:14:23.760
That\'s just delicious.

01:14:23.760 --> 01:14:26.480
I find that completely,

01:14:26.480 --> 01:14:30.400
you know, scrumptious.

01:14:42.840 --> 01:14:45.680
(slide projector clicking)

01:17:01.200 --> 01:17:02.960
(applause)

01:17:02.960 --> 01:17:04.120
Yay!

01:17:04.120 --> 01:17:06.680
Woo-hoo!

01:17:06.680 --> 01:17:08.880
Yay!

01:17:11.200 --> 01:17:15.440
Okay, um, thank you very much.

01:17:17.920 --> 01:17:21.320
It\'s a little bit
of a different thing--

01:17:28.800 --> 01:17:33.040
No, it disturbs me,
those moments, it\'s very...

01:17:53.920 --> 01:17:57.400
She said you\'ll fix
every problem.

01:17:59.200 --> 01:18:00.800
Yeah.

01:18:00.960 --> 01:18:03.920
The curtain,
which I think is fabulous.

01:18:03.920 --> 01:18:05.280
-With \"Decoy.\"
-Oh, yeah.

01:18:05.280 --> 01:18:07.480
Like, before \"Decoy\" comes on,

01:18:07.480 --> 01:18:08.600
this is what we\'re looking at.

01:18:08.600 --> 01:18:11.800
-Isn\'t that cool?
-I like that, I like it.

01:18:11.800 --> 01:18:12.920
So, I\'m gonna go out there.

01:18:12.920 --> 01:18:15.320
-Okay, I\'m gonna follow you.
-I\'ll see you later.

01:18:15.320 --> 01:18:17.040
Oh, you\'re gonna come
out there, too?

01:18:17.040 --> 01:18:20.400
I don\'t know how you
go back to the...

01:18:20.400 --> 01:18:21.440
Uh, this way.

01:18:21.440 --> 01:18:25.520
Yeah, but how you get backstage
after you\'re here.

01:18:25.520 --> 01:18:27.720
Like, isn\'t there a...