Tonight, students and company members arrived at the spacious SPAC for our technical rehearsal. Students ran Panorama, while company members did Maple Leaf Rag.
While everyone was performing onstage, I took some video of the company members performing Maple Leaf Rag. You can watch the entirevideo of Maple Leaf Rag here. The night really flew by – before I knew it, we were back home. I believe the performance captured on video reflects that swift quality.
Feel free to add your own thoughts on tech rehearsals! Looking forward to a great evening of performances!
This past week, I’ve received feedback on the design and layout of our site. The most common complaint? The navigation on the site was a obscure and hidden. In response, I’ve been looking at different layouts and design for the site, and have put together a new style.
I would love to hear feedback on how this new layout compares to the old layout, and what you would like to see developed further.
It would be very helpful to hear your comments during this redesign process.
[ For those receiving this in an email, follow the link to see the new site (in progress). ]
Seeing the company rehearse Clytemnestra and seeing it on DVD have really brought Graham technique and repertoire alive for me. I’ve seen many Graham works on video throughout college, but had never seen any performed live. In my first week here, I watched the company rehearse Night Journey, and I was in awe.
First of all, I never realized the costumes were green from the black and white videos I had seen of the piece. Second, the work study students and I got to help assemble the sets. But, lastly the intensity of the dancers was amazing. Seeing the company rehearse Diversions of Angels, I had the same reaction, I was almost in tears watching the dancers. And watching the company rehearse Clytemnestra, I really felt that it came alive for me. I was surprised seeing the dvd later that evening that the same intensity came across the screen.
What I’ve learned in the past weeks is that dancers have to be amazing movers and performers and have great technique, but they also have to be extremely intelligent in approaching their role. Learning Iphigenia’s name-calling from Miki and hearing the other company members talk about their roles, I am amazed by how much they think about their character–their backstory, their emotions, their movement, and how their emotions inform their movement. We are working on this in Panorama, and I think that watching the company rehearse can greatly inform our own performance.
After viewing the PBS version of Clytemnestra I was astounded by the technique of the dancers and the performance they each displayed. It occurred to me the next day in class how important every class is for a Graham dancer. Almost every step that was in the piece came from one of the basic combinations we use for class each day. I didn’t understand how important the movement was or how vital class is for any Martha Graham piece. I was always surprised by the choreography because all the movement was based from the core of the body and portrayed an emotion or action. Martha Graham created not only a technique but a language that is universal.
My second viewing of Clytemnestra was company rehearsal in the studios and there was such a difference between a live performance and a video. Being able to watch the whole company dance and not just a highlighted section of the piece was astounding, there were so many details that I missed out on in the video version. The emotion and energy that was presented, even at a rehearsal, was only an indication of how powerful a real performance of this dance could be. Also being able to watch the rehearsal process and see what goes into a video showing sheds new light on the difficulty of reconstructing her works for video. The one guarantee video has is the performance will never change, where as a live performance is new every night.
As everyone has said, watching Clytemnestra was an unreal experience to say the least. The piece itself seemed to me to break up quite perfectly, giving us a lens through which to look at each character and then throwing us into the depths of drama. The signature movements that we have discussed and explored both in repertory class and composition shined throughout the entire performance, each character having a gesture or piece of choreography that so clearly defined their character and what he or she was all about.
Furthermore, I was particularly struck by the use of the sets. The pieces themselves are simple and yet so perfectly frame the story and actions that occur on and around them. Whether it was Clytemnestra glaring from her throne or the bodies strewn across the platform in the nightmare sequence, each set piece played a role in emphasizing the flow of the story and the message of Graham’s work.
Finally, I loved the universality of this piece. While, as we have discussed in class, the story is very timely, the greater message seems to transcend time and really affect all audiences.
I have loved learning, watching, and exploring the repertory of the Graham Company; it helps leaps and bounds in understanding the method to Martha’s madness, or shall we say brilliance…
From watching the made -for -TV version of Clytemnestra, I was inundated with a new understanding of how watching a performance filmed rather than live is a very different experience. It was very interesting how the film used fade-in and jump cuts to transition from one scene to another, to emphasize on ideas and symbolism that cannot be as exaggerated during a staging. While a performance is sometimes more exciting live, I found that because the version was made with specific filming techniques, I found myself just as engaged in watching the film as I would have been during a live show. I love Greek mythology and perhaps that is why I especially liked Clytemnestra. Now that I have watched the whole work, I have a better understanding of the variation I am learning from the piece. It is so wonderful working so closely with the Company members and I am excited to watch the company rehearsals. Overall I have had a great experience this past week and I am overall astonished how much we can fit into a week as well as how fast time flies!
As part of Peter Sparling’s Composition class, students have been devising their own personal Movement ID’s. During class, Peter looked out the window, saw a field, and had the inspiration to videotape everyone’s Movement ID’s at the same time – in the field.
We took 2 cameras, 37 dancers, and just had a blast. The video below features original choreography from each individual dancer.
Watching Clytemnestra for the first time not only allowed me to gain knowledge of the work and the characters that we have been learning about in rep. class, but it also allowed me to look at my “Name Calling” study, and everyone elses with a greater understanding. Just watching the characters eyes in this could give an indication of their intent and feeling. It was interesting to see each character step forth and give their ” Name Calling”, because I found myself realizing that it is very natural as human beings to embody all of the characters. At times we can all be Cassandra’s but then mold quickly into another character. Our studies are what we happened to be feeling the moment we created them. Each day they can be performed a little differently depending on our experiences. Seeing our studies develop, and watching the company members try to develop their characters for Clytemnestra, has only proven to me that there aren’t any limits. The little details are the hardest to refine but they are what makes these ” Name Callings” so unique and more importantly beautiful to watch.
I really enjoyed how the ballet was set up. The prologue provides an outline for the audiences to get a heads up on whats going on, while the first and second acts provide the full story. I felt that this set up would be beneficial to people who came in not knowing the story. I also liked how time was used – it allowed the viewers to relate to Clyemnestra on a personal level because you felt as if you experienced the events the same way she did.
If anyone is interested in the characters this is a great website that gives a brief life story of basically any person ever mentioned in greek mythology, ( all the names are in the left hand column )
Being brand new to the modern style known as Graham, I have had a GRRRRRREEEEAAT experience embracing all the different movements and contractions. Watching all of the company members in rehearsal has given me so much more extra energy in Graham class and rehearsal for “Panorama”. Learning the role of Paris from Lloyd, who actually does the part, has been very tough but, worth all the hard work and corrections to see the end result.
Seeing the 2nd generation of Clytemnestra was very “sick” (FREAKIN AMAZING). Watching Clytemnestra the choreography and dancers dancing was like getting pulled into a very exciting novel. The crazy thing is a novel usually gets boring, but Martha Graham’s choreography left me on the edge of my seat. I am very excited to see what the future 2 1/2 weeks hold. AHHHHHH this experience is PRICELESS!!!!!
Seeing the company rehearse Clytemnestra and seeing it on DVD have really brought Graham technique and repertoire alive for me. I’ve seen many Graham works on video throughout college, but had never seen any performed live. In my first week here, I watched the company rehearse Night Journey, and I was in awe.
As part of Peter Sparling’s Composition class, students have been devising their own personal Movement ID’s. During class, Peter looked out the window, saw a field, and had the inspiration to videotape everyone’s Movement ID’s at the same time – in the field.
Being brand new to the modern style known as Graham, I have had a GRRRRRREEEEAAT experience embracing all the different movements and contractions. Watching all of the company members in rehearsal has given me so much more extra energy in Graham class and rehearsal for “Panorama”. Learning the role of Paris from 
