Public Performance & Interventions

Corinne Cappelletti performs New Pedestrian off-shoot for “Sept sur Sept” Aix En Provence, France 2012

New Ped "Rinny Richelme"

New Ped “Rinny Richelme”

Eva Perrotta carries Corinne Cappelletti, photo by, Tyler Sparks

Eva Perrotta carries Corinne Cappelletti, photo by, Tyler Sparks

Carry Your Burdens, AiOP Ritual 2011

All photos below by Lauryn Gerstle

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One thought on “Public Performance & Interventions

  1. Last night, October 02, “Carry Your Burdens” took the streets for our first performance! We had a few strangers tag along and follow our entire promenade from Ave B to the Highline Park, and a crew of photographers flashing shots all along the way starting from Jackie Rudin’s injured body duets at Union Square. The dancers performed these duets with a new level of surrender, riding the weight of one another through the crowds and around lampposts.

    Tracking through my memory of the route from Ave B to the Highline, we started at Pat Daugherty’s landmark burden (520 14th St). Rather than intriguing the passer-bye w the chalk-written headlines from wartime news stories, the dancers seemed to be more of an annoyance than before. Eva’s choices to hold her place and repeat motions of wiping off the chalk and emphasizing her daily gestures with repetition drew my attention. Einy’s extreme near-reach space and direct focus of her keyboard gesture emphasized the sense of tightly wound attitude common of people who are stuck in a routine rut, unaware of her surroundings. I missed having the performers bring these headlines to a verbal level of awareness. Try to speak the words as you erase them from the sidewalk next time. The burden of being a passive participant in wartime society, which Pat would like to release, will continue to evolve.

    Linds & Katelyn made daring and unexpected choices in carrying one another: Linds walking on her hands, sideways sling across Katelyn’s low back, intertwined forearms and gingerly cradling the head of one and then the other.

    Curly’s Walk brings the quartet together for a block, yet the wave of movement ripples down the line of dancers. The group cohesion and timing will come together over the course of the week, I am sure!

    Along the wall at Jackie Rudin’s Landmark (7 w 14th st) the 4 ladies set up architecture and molding to reveal the inner landscape of the Broken Dream coming from the burden of a false self-perception. The mantra of who you thought you were runs over and over in your mind, you see the one you thought you were, you touch it, become it and eventually transfer it into another person through verbalization and tracing the personal image onto others. Coming and going, the unison of the dancers breaks apart for a moment, I am surprised. Keep trying different facings and ways to reflect the image of the one who is leading the Dance of Broken Dreams. Next time, bring the person who you are whispering to into the middle of the sidewalk or next to a group of audience so that the mantra can be heard.

    Einy I think you can give up more passive weight with “Carlo’s walk,” starting from 6th Ave to 7th Ave. For all the others, your directionality needs even more spatial intent – where are you directing Einy in space with your touch? How to you touch more bone to bone, with more direct articulation?

    The burdens at Rags AGoGo captivated passer-byes. The flow of climax peaked in two distinct sections, and yet, you thread a link between the sections with great intensity. Try to leave more space between who is speaking as your volume begins to increase. Listen to one another say the burden of Nigel. Listen. Slow down and articulate as your get louder. The build from magnetic attraction into pinpointed networking and then the aggressive judgment of how your partner chooses to move forward was excellent. Fearless fight. The range of motion can be reeled and limited a bit more, however. Try to choose one specific point of a bony protrusion on your body to use as a fulcrum against another bony-landmark in order to progress forward in space. Again, bone meeting bone. Feel the volume and leverage. Allow yourself to be a little robotic, definitely task-oriented, Direct, and strategic. You are networking. The burst of energy and emotional extreme in Eva’s scream out of the “painted corner” was a relief, a satisfying change of tone and texture to the performance.

    Improvising with Father Rubio’s hand holding duet sent you pushing and twisting around one another, creating a meandering pathway. This was nice change from the forward saggittal focus for the majority of our walking from site to site. Eva & Einy agreed with me to incorporate another level of inner monologue and an active role in the carrying would enhance this dynamic. So for the following performances, bring back the original plan to notice your experience in the moment. Notice how your body feels while carrying the physical weight of you partner and while holding the weight of all these burdens. Notice your experience with a response in your body through movement or describing your experience of these burdens out loud. Yes, bring your voice into the performance more.

    Arriving to the benches on the Highline, I saw such an amazing clarity of intent in each of you. I felt satisfied being in moment of being. As you see/feel the potential around you, and then to see your potential manifested in your partner I was drawn in and at the same time felt expansive. I saw a deep connection between your partnerships. Lovely sinking into the bench, Linds. All keep enhancing the soft spine to yield. Build step by step, accumulatively, yield, then push, reach & finally pull. You all look gorgeous against the honeysuckle lattice and your skin, costume, hair colorings! The timing of Einy & Eva coming together for the second section, after the benches, first was a nice layering and transition for the viewer. The transition, however, needs to be more distinct.

    Make a more quick direct line of movement to set up the final “I go back” section. At night, progress to the end of the next closest staircase, not the one all the way at the 20th street exit. As soon as you reach the beginning of the staircase, back up while saying “I go back” so that you set up the connection of reaching your goal, but backing up. The other person is there to push you, because you are dealing with Patty Heffley’s burden of not following through when ever she gets close to her goal(s) in life. To support the other person, by pushing their back or activating her weight in a forward motion (to the stairs in this case); you can do this by pushing the back or their legs forward from the hamstring connection, the femoral flexion, the sacrum, etc.). But keep the text involved and the forward trajectory.

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