Tag Archives: dance

From Lucy Guerin: On ‘Weather’

Editor’s Note: Lucy Guerin’s program note about “Weather” was so insightful, I wanted to give it a pulpit here and give everyone the chance to crawl deep inside the philosophy of this important work well before they arrive at the theater. We have weathered some challenges to get Lucy and her company here and we are extremely proud and excited for the performance on Friday. Enjoy.

The ideas underpinning this work stem from a desire to explore the possibilities of the human body’s connection to the elemental forces of weather. The range of this subject is limitless and universal, but for me, weather has a natural expression through dance and movement. It can be defined as the ‘state of the air’, and in this work, this invisible drama is made visible through movement and design. The cause and effect of moving air to create pressure systems informs the choreographic structure of the work, and defines the dynamics and performance of the movement material. Weather affects our mood, dress, food, activities, sports, conversations, architecture and our identity. Many works of art and literature have used the idea of a drought, a storm, the tropics or the icy outreaches of the poles to speak about the psychology of individuals, relationships or societies.

Making “Weather” has been for me a visceral immersion into choreographed movement and the body on stage. The motivation for the material has stemmed from the physical sensation and impact of the elements on the body, abstract representations of weather through maps and diagrams and our identification of human emotions with different weather phenomena. It occurred to me many times throughout the process that the human body shares with weather the qualities of moving air, water, mist and heat, and that the air we breathe in and out becomes part of the weather at some stage.

In today’s world, weather is acting like a barometer for our environmental disasters. As the polar ice caps melt and the holes widen in the ozone layer, we have to accept that humans are now a factor in the creation and alteration of weather. Our actions have tipped the balance resulting in uncertainty in the ‘natural’ order of things.

The attempt by scientists to understand, record and predict the weather is only partially successful, and I think it is this ability to defy our logic and to overwhelm us with its force that ultimately draws me to this subject. This aspect of nature cannot be controlled or subdued and is a poetic reminder that we are not the masters of the universe. Dance shares with the weather a resistance to easy interpretation. It is about force, direction, dynamics and form. But once the body stops dancing, nothing remains, and once the cyclone is still, we are left with only air. It is motion that brings them both into being.

This work has been a return for me to a focus on pure movement and the fascination I have for choreographing the human body. These exceptional dancers have contributed to both the choreographed and the improvised movement in Weather and without their willingness, superlative talents and belief in what we do, I could not have made this work. The stimulating dialogue I have had with my design and music collaborators has also impacted strongly on the creation of this piece and I owe much to their having strong visions within their own practices to bring to this work.
–Lucy Guerin

Notes from Kristy: Come On In, The Water’s Fine

The other night we heard the resulting song cycles and creative framework of a new work by Heidi Rodewald and her collaborators Donna Di Novelli and Kevin Newbury, who just completed their residency here at the Center. While their time in residence was concentrated, they generated some truly remarkable material in pursuit of collaborative ideas.

And if my reaction to what they shared is any gauge of the future life for this work, it is going to strike some very resonant chords. The project is called “The Good Swimmer” and is based in part upon the found text of a lifeguard training manual from the 1940s (when women had to assume traditional male job roles as they were all off to war).

There was a particular conceptual through line in it that I cannot get out of my mind. A central thread from the instruction manual for lifeguard training: “The Lifeguard knows what she must be most alert to, and most concerned over, which is the good swimmer. The good swimmer knows how to take care of themselves when they swim out beyond where most would venture. The danger for the lifeguard is that those less capable will follow. The good swimmer therefore poses the greatest hazard to the lifeguard’s duty of care.”

I love it when an unexpected and pristine clarity knocks me sideways.

We are about to play host to a whole season of pristine clarity coming out of the artists that are soon to arrive as we open the 2013-2014 program. I thought it might be good to mention a few of the firsts – The Moth kicks off the Spoken Word series, LACO returns for their illustrious program at Royce Hall as our Resident Orchestra, Deer Tick sets UCLA’s Welcome Week off with an alt-country twist to our Roots/Folk series, and Keith Jarrett, Jack DeJohnette and Gary Peacock – while marking 30 years of amazing music together – kick off our Jazz offerings.

Crossing over from both the Atlantic and the Pacific we welcome the mega-theater work, “Shun-kin” by Complicite in collaboration with Setagaya Public Theater — putting a momentous start to the Theater season, with a work that is quite simply not to be missed. Our Dance series opens the following week with the North American premiere of Lucy Guerin’s most recent choreography, “Weather.”

To put this into some statistical perspective, that’s about 100 independent artists over three weeks, hailing from cities and countries far and wide converging in Los Angeles this September. We are going to be heaving with the generosity of brilliant artists taking the stage to send up their finest for our ebullient audiences, and I for one am BEYOND READY.

One of the aspects to bringing that much creative mastery into a place like this, is what happens on campus, in Westwood Village, and in the venues themselves when unanticipated and astonishing moments in art between impassioned people come together in unique exchange…well, it makes the fight against the traffic and I-405 closures and daily irritations melt away and we get to be joyously AWAKE together. For the artists– the equivalency is that it makes the airport delays, visa approval processes and all of the rehearsals well and truly worth it.

This is a big and important season for the Center for the Art of Performance at UCLA. It marks the deepening presence of our mission and purpose, and a heightened relationship to our supporters and audiences, along with these extraordinary artists. For those of you already reading this, it means that you are interested in the Center sustaining the work of our purpose. Know that I consider one and all of you to be the exact people it will take for us to continue to develop and evolve regardless of the ever-vexing pressures that can work against a great public promise. In short, you are the good swimmers, and here’s hoping that by watching you swim out into the great beyond, others will indeed follow.

–K

Notes from Kristy: Looking Forward at Summer’s End

With a full year under our belt as Center for the Art of Performance at UCLA, and a new season of performances soon to be upon us, I thought it was high time for me to start contributing various missives to our web site and monthly eNews. As we go along, some will invariably be generated from airports, others from my desk, likely others from backstage here or elsewhere–but since I am always thinking about something (at least when I am awake)–I am keen to share it with those of you involved in what we do over here at the Center.

I am sure I am not alone in this, but today is my elevated recognition that it is A U G U S T 1st. I have been busily looking forward to summer all summer it seems, and now it’s August 1st ! From my desk that means that we are six weeks away from the arrival of the first artists on our season.

After the announcement of the 2013-2014 season in the spring, I was in Tel Aviv, Moscow and St. Petersburg with colleague artistic directors—seeing a great deal of performance and visual art, meeting with artists and practitioners and developing plans for projects to become part of our future programming at the Center (stay tuned). I was also able to participate in the LA Dance Summit, which generated a great deal of spirited exchange about the dance ecology in Los Angeles. Still being relatively new to the city, I appreciated being able to listen to the challenges and opportunities of dance artists and organizations over the years, and to ponder what strategies might be developed for increased visibility and growth over time.

Similarly, I was fortunate to have a chance this summer to really sit down and meet with theater artists and colleague presenter/producers of theater. There is a spectacular amount of energy and wisdom to draw from and I am always motivated by the possibilities of building different bridges that can lift the capacities of great artists and connect their work and ideas to places and people where they will find resonant embrace.

I want to talk a bit about two projects for which we are in rigorous and detailed preparation: Shun-kin by Complicite under the direction of Simon McBurney, and Weather, by Australian choreographer Lucy Guerin. Shun-kin just completed a highly successful engagement in New York with the Lincoln Center Festival, and then the technical director popped across to visit us here and look at the Freud Theater, where the company will set up in a few short weeks.

Much to his delight, the venue is going to be ‘perfect’ and we have made adjustments that will accommodate the subtitle positioning quite well (this is always a somewhat vexing undertaking, so I am very happy to report this news). Still, there is ample time for those of you coming to see an unforgettable work of theater, to read the Junichiro Tanazaki text that inspired it. There’s also a brilliant L.A. connection to this work, an essay on architecture by former UCLA professor Charles Moore which stands as design inspiration to the production, and also serves as a forward to the printed edition of In Praise of Shadows. While we will be printing the synopsis of this intense and challenging piece of theater in the program notes–and making those available in advance–it would be great for those of you inclined to read the original material.

If you can come to the opening-night benefit, please do so. It is going to be unforgettable, and it will help us continue to present exceptional theater that would otherwise not make it to Los Angeles. There is so much to do, and knowing we have your support makes the difficulty of getting it done utterly worth it.

Lucy’s piece deals with weather patterns and systems in change and sets the choreography into a world of weather in dynamic change – the scenography and score are equally dynamic, and we will be updating you in the lead up. I am so happy to be able to welcome Lucy and her dancers to Los Angeles. For those Aussie expats now based in L.A., we will make sure to have a gathering while they are in town.

Thinking of Australia for a moment – when you do return to Royce this September you will discover four newly planted, gorgeous eucalyptus trees adjacent to the back entrance of Royce near the stairs that lead down to our offices. These came to us when a gentleman working at Campus Facilities saved them from the chipper at a construction site elsewhere. I wonder how on Earth he did it – these are not saplings – and wanted to say thanks.

Our lovely rescued trees will soon flank a brand-new ramp on the backstage loading dock.

While most of us on staff here spend the summer months actively detailing the complex preparation for visiting productions and concerts from the upcoming season, I am also finalizing the major works that will become the backbone of the 2014-2015 season. I am happy to say that it is now largely in place (artistically speaking), and the long march of ensuring that we can resource the scope and dimension of the program is now at hand.

I am thinking about a lot of other stuff as well, but will save that for future missives.

Have a spectacular August!

Kristy