yesterday i presented an aerial rectangle piece that i made to laura marling's itunes live version of alas i cannot swim. based on the feedback i got, i'd say this was the highlight:
My bias is this: in a learning/school/workshop environment, if you're not sure if it's a direction you're interested in, take advantage of the resources at hand and go further in that direction. Going further down that road can only clarify things for you. (Oh, yeah, I REALLY hate this direction, and here's why / Oh, actually, with this kind of tweak, it might be fruitful thing.)
Also, this instance is tricky, because you're actually dealing with more than one question: How do I enjoy choreographing my own work? Am I adept at knowing how my choreography will be received? What kind of choreography would I choose if I were a director, on the outside looking in?
It's okay to investigate just one of those questions at a time, and put the others on hold for a moment.
Trying to get your illustrative choices to read as illustrative might be very instructive for developing an instinct about how choreography will be received. It might answer nothing on the fronts of how you enjoy choreographing, or what you would choose if you were the director. But then again, you might be surprised with bonus discoveries in that vein.
Then again, different audiences have different sensitivities. Maybe if you showed that same illustrative choreography to another audience, they'd be like, "Oh, yeah, we totally saw that as illustrative."
So another other question going on here is "How much do I want to think of this group's sensitivities as being representative of all potential audiences?"
That question is maddening and unanswerable, of course. Maybe you'll only be able to answer that in retrospect, if at all.
this occurred to me, too. my fear is that this audience wants to be spoon-fed (more than i want to spoon-feed); they don't have much patience for open-ended interpretations. tricky.
i had this thought, too -- i feel like it would be incredibly instructive and useful to make this piece here. at the same time, though, it's not just an exercise or assignment; i'll leave school having created two circus acts i can perform and promote and sell, and this will be one of them. i want them to be acts i'm proud of and happy to perform -- i want them to be keepers, you know?
Also, this instance is tricky, because you're actually dealing with more than one question: How do I enjoy choreographing my own work? Am I adept at knowing how my choreography will be received? What kind of choreography would I choose if I were a director, on the outside looking in?
It's okay to investigate just one of those questions at a time, and put the others on hold for a moment.
Trying to get your illustrative choices to read as illustrative might be very instructive for developing an instinct about how choreography will be received. It might answer nothing on the fronts of how you enjoy choreographing, or what you would choose if you were the director. But then again, you might be surprised with bonus discoveries in that vein.
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So another other question going on here is "How much do I want to think of this group's sensitivities as being representative of all potential audiences?"
That question is maddening and unanswerable, of course. Maybe you'll only be able to answer that in retrospect, if at all.
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