|
Overtime/Trio
Overtime is a collaborative work, the
first version of which was created as a final project for the
interdisciplinary class "Movement and Sound" at Columbia University in 2001.
The original team consisted of artists
Isami Ching and Alex Lee, composers Keith Moore and Nicholas Marantz,
choreographer Malene Schjønning, dancers Liz Pearlman and
Diana
Torba, and violinist Maja Cerar.
Several "branches" have already grown out of this work and have become
independent. Two of these are Living Creature and Trio,
both of which were premiered
at the Merce Cunningham Dance Studios in downtown New York in
2001.
Trio was further developed by composer Keith Moore and
choreographer Malene Schjønning, dancers Liz Pearlman and
Tessa
Chandler, and violinist Maja Cerar.
Concept
The concept of OverTime
emerged from numerous discussions of the creative team regarding how
people tend to
believe that technology empowers and liberates them, while they
disregard
how it also imposes severe constraints on them. People treat
technological
objects as if they were living creatures and even accept that the
objects take on lives
on their own.
OverTime
is a suite of short movements, in which a violinist and three
dancers combine in various constellations, enacting a sequence
of
encounters between
life/technology hybrids. The paradox culminates in an absurd situation:
A giant "breathing" pillow made of 'wee-wee pads' needs to be kept
alive
with violin sounds (animating the breathing, as it were), just as a
virtual pet needs to be maintained by regular attention. Artist Isami
Ching explains: "Watching the
composers and dancers exploring the
technology made me think about cyborgs and our relationships to
technology in our everyday life. I thought perhaps there might be a way
that we could have a dancer or violinist interact with a physical
manifestation of technology as a kind of duet or seranade."
Movement - extreme constraints
and freedom
One
narrative thread through the Overtime
suite is the violinist's
experience and exploration of movement in variously confined stage
spaces A fitted
soundproof booth presents the most extreme space
limitation; the violin sounds are fed to
a microphone
and highly processed through sensors controlled by two dancers
wearing DIEM suits. Isami Ching: "Maja would be
providing
the base sounds that Liz and
Diana would be altering during their duet. Nicholas wanted a
means of
having Maja present on stage but unheard. Initial ideas
revolved
around
a kind of "telephone booth." We thus decided to enclose her
in a
form-fitting case, not unlike a hard shell cello case. I liked the idea
of making a 'violinist's case', a case that would capture a particular
violinist playing a particular composition." The extreme
opposite
of this confinement occurs immediately after the booth segment, when
the
violinist bursts on stage fencing with the bow in vehement strokes.
Choreography
Malene Schjønning,
choreographer, states: "After having seen Maja
(violin) and Liz
(dance) improvise in a rehearsal, I went into the studio alone and
created a movement phrase inspired by the way Maja plays and holds her
violin. I taught the phrase to both Maja and Liz and created a floor
variation and a jumping variation with and for Liz. Maja and I
developed a solo movement for her."
Maja
Cerar, violinist: "It was amazing to see that when the dancers were
working on the choreography for the duet they started to look more
violinist-like than
a real violinist. Their movements became extrapolations of violin
playing and made me think that this is what violin playing would be
like if there weren't the physical requirements of producing sound by
bowing
across strings."
Composition
It occurred a few
times that the phrases of the choreography were determined
before Keith
Moore composed the music for a particular section. The music,
therefore, sometimes had to be tailored to specific body movements of
the violinist. Maja Cerar: "When I spin along the wall I can
only use my
upper half of the bow; when I roll across the floor I can only bow in
one direction and not the other." Composer Keith Moore: "The
score for Trio consists of eight squares which the
violinist
cycles through several
times. The arrows in the squares translate into spatial paths mapped on
the
fingerboard (left hand and sounding point), the air (fencing),
and
the floor (choreographed movement)."
|
|