note to self

- rose&olive

when asked by the choreographer what your thoughts on the work are, remember to simply repeat what they have said to you. off the cuff crit’s 30mins before the show are (usually) not welcome … look pretty androgynous and dance.

actually i should learn not to say whats on my mind in the presence of people more often. i tend to respond to the question rather than realizing its an attempt to pass time. as a dancer people generally want to see your interpretation of a work, not hear it. in spite of all that thinking dancer guff *, dancers who conceptually engage and articulate their thoughts are considered suspect. its as if the dance can’t be in your body if you establish a clear critical (and theoretical) position on it.

just think about it, how often do you read in depth article from dancers about how they engage with, interpret and recreate dance works.

* all dancers have to think, what they really mean is critically informed dancers.

missing a particular friend of mine, wish i could do a lindenberg and see them,

the winds of march that make my heart a dancer
a telephone that rings but who’s to answer?
oh, how the ghost of you clings
these foolish things remind me of you

do not touch

© Tara Donovan

whenever i see installations like the one above, i want to jump in and dance. then i get to thinking why are more dance works with installations show in galleries. and i don’t mean one off site specifics, but dance installations that travel from gallery to gallery. if performance art can pull of such works, why can’t the dance world?. i’d love to be able to walk into a gallery and stumble across a durational dance.

lets be clear; i’m not talking about something that gallery visitors can participate in (no touching the dancers please). but something that exposes the fine arts community to contemporary dance works.

if you know of anyone doing something like this, let me know. especially if they are looking for dancers