nasze pierwsze przymiarki do audio to
dźwięk zimy.
dźwięki wody, wiatru, lodu.
drzwi
KRA to muzyka klasyczna monumentalna, zimna, mocna.
Jon Leifs, Islandia.
a może KRA to dźwięki codzienności wyabstrahowane z niej,
skrzypiące drzwi pozbawione kontekstu stają się Muzyką Totalną, silną i ostrą.
elementem dominującym a nie tłem, wiodącym tematem a nie akcentem.
wiemy, że musimy używać jej ostrożnie, z umiarem, rozważnie…
pozytywka
premiera kry będzie na festiwalu ciało/umysł.
przełom maja czerwca, ale chyba jednak nie w koneserze. nici z naszej sali miodowej. chyba stanie na CBA (jak zwykle).
obstawiamy salę telewizyjną – tę dużą na górze. musi być czysto i pusto, żeby nic nie rozpraszało. najlepiej taki black box. idealnie pochłaniający niepotrzebne dystrakcje.
a to wstępny rajder, jaki po omówieniach w kawiarni na inżynierskiej, wysłałam oldze:
KRA
WSTĘPNY rajder techn:
1. Podłoga srebrna w rozmiarze 5m X 15m
/czyli takie długie lądowisko/
2. widownia z dwu stron:
3. ŚWIATŁO:
4. WIDEO
Zastanawiamy się nad dwoma projektorami wideo z szerokimi soczewkami + mikser wideo i 2 dvd.
5. DŹWIĘK
Marzy nam się taki „dźwięk totalny” obejmujący widownię dookoła, taka quadrofonia.
Na pewno potrzebujemy mieć powieszone głośniki z tyłu za widownią, i subwoofery.
Konsoleta, 2cd.
6. INNE:
Na razie jesteśmy na etapie wentylatorów, takich metalowych, stojących nisko w siatce, dość dużych. 5 sztuk, jako dekor/rekwizyt.
work in progress:
e-mailing with nicole, and the birth of FLOEs concept.
5. luty
Hello everyone, dear Nicole, Edyta and Marta
I am writing bout the progress of our project of course.
First of all, Koncentrat received some funding from the Ministry, it
is not much, but it makes it possible to think about putting the
project together very optimistically. Having already support of Pro
Helvetia, and of body/mind festival, we can hope to receive funding
also from the city and then we can close the budget. Unfortunately
this we will know only on Aprill. In case we do not receive money
from the city – which I think is very unlikely – we will then turn to
the festival for help :-) (but this is really worst case scenario,
which I think is pointless to take into consideration now).
Now, worse news. Unfortunately, due to health/family issues Anka is
not able to do the project, which we know is a major change. However,
I am still willing and wanting to work on it, both a s a dancer and
as a choreographer. It would be me, with some other dancer/dancers (I
am very much considering a trio, two guys and a girl, and if a duet,
then a male duet) then, with Nicole as artistic supervisor as we
agreed before. The artistic shape of the project would of course
change a bit, but I have some strong (I think) yet simple ideas which
I would very much like to discuss with Nicole and Ewa as of now, by
mail, in order to get a firmer grip on the idea and form of the
piece, before the rehearsals start. They are still somehow connected
to Kobo’s text but I am more focused on choreography and movement
creation in general, so those references are fewer and more general.
Also, in terms of music, set and costumes I have initial concepts to
be developed. Of course, question who the other dancers will be is of
great importance, but again, I do not worry so much because I never
had problem getting coleagues to work with me, also in Poland we all
work on short notice, very few artists have things planned out much
ahead. I am pretty optimistic about the whole thing.
The rehearsals have to take place in Warsaw, since I am also having a
new baby and cannot go for a residency anywhere. I intend to start
working with Nicole and Ewa now, via mail, in March I would like to
start my own research, in April put the choreography together, in May
start rehearsals with performers and give premiere in June. The
specific dates of the premiere we are waiting for the festival to
confirm. I remember (is it still possible?) Nicole could come twice,
for me, it seems it would be most important to have her here for
rehearsals in week two (10 days) of team work (may) and in the last
week (10days?) including the showings (june).
This is a very general outline of events.
What we are waiting on now is:
1. your approval for the project change (Nicole, Edyta, Marta (P.H.))
2. dates and details of participation of the festival, including the
place of the premiere. This is also an issue, because I am thinking,
that we might want to make a site specific piece again (it depends on
the policies of the city about their money distribution and on the
artistic vision of the whole piece), but first thing is dates. Place
of the premiere we need about 2 weeks to decide on, since it needs
dialogue with Nicole and Ewa, dialogue with the city officials and of
course with the festival
4. To open discussion about the artistic shape of the piece (Nicole-
Ewa- me). I need maybe a day, two to sum up my ideas.
3. Confirmation of all the technical and financial issues (dates,
etc.) of Nicole’s travels (Lena, Nicole)
5. Decision about the dancers hired. Once we decide on the shape
(duet or trio), I will start calling people. I actually already
started. The list I have in mid contains experienced, Polish dancers
(this is information for edyta, since she knows them: Iwona Pasinska,
Anita Wach, Kaya Kolodziejczyk, Mariusz Jedrzejewski, Bartek
Figurski, Radek Hewelt and some others too. Mariusz is actually
Chiharu’s husband and he works in Switzerland, formerly with Saire
and now with Leemann, so Nicole might know him too).
Uff.
Last thing. On behalf of Anka and me I want to apologize for all the
delays in information etc. that occurred so far. They were caused
first of all by our uncertainty about the future (breeding and its
consequences – we both have babies almost in the same time) and also
from the wild west style of Polish cultural policy – I remember we
spoke with edyta in december about the festival maybe taking place in
the fall. So, it is very hard to plan anything right.
Best regards to all
rafal
12. luty
Hi
Back on the line.
Dates and venue are coming soon. I hope to include the photos of the
venue one day. Thanks for the references you send me, they are very
inspirational. Somehow, I see that I could be alone in that work.
Maybe the silver floor and tree/tree trunk (depending on the
technical and financial possibilities) and me could do? I am more and
more inclined towards the solo – what you wrote about crisis is very
convincing to me. I am not scared of confrontation, I am more scared
about myslef, same old me, again, in a solo production. But then,
maybe it is the most challenging to approach this form one more time.
Also, maybe this is the time to really spend on myself not to go
inspire anyone else, because frankly, I have nothing to inspire with.
I need inspiration, investment. But then – I got you, which seems to
fit in very nicely.
I will write to Mariusz though, to have it somehow wrapped up. I
spent all day yesterday thinking about it, and at some point I had a
list of 4 other dancers I was gonna contact, and somehow I figured
that I won’t. If mariusz has a baby, it is very unlikely he could
make it to POland though. Still, I will try.
I need some time to make the cds for you, I will also put down my
thoughts about that too, it is coming. I am happy we do not have to
run around looking for a composer now, but we might still want to do
it at some point. There is a difference though, between knowing that
you have to and knowing that you might want to. My own work is very
much on the beat, music wise, I make movements which are very
intertwined with music (the solo you saw was a deliberate exception,
an attempt to use the music that does not fit stage). I like silence
too though, so it varies. However it is hard for me to imagine that I
would make phrases to the music for this work. And then again – this
is what I would really like (it seems) – phrases (to or not to the
music).
Summing up:
A tree trunk/tree + silver floor – to be developed and discussed with
ewa
solo-duet a couple more days to decide
woman of the dunes -the things you mention I also liked a lot. also
they seem to somehow play with my nature/romantic/sentimental twist,
because it is much more on the calm and much less on the hysterical
side of the romantic, sphere.
best regrds
r
ps
I am scared of the romantic, because when you are a guy and look like
me and you are a dancer and you are romantic, then you are really a
fruitcake, a funny looney, a laughing stock. Pina can be romantic.
Not me.
On Feb 11, 2009, at 12:13 PM, Cie Nicole Seiler wrote:
> Dear Rafal,
>
> thank you for your mail and photos, it’s great to have an actif
> mail conversation during this period of preperation, thanks.
>
> yes, I let you figure out the dates and venues with Edyta.
>
> I have contacted Marta from Pro Helvetia about my fee, travels etc.
> – I’ll keep you updated.
>
> about your atristic issues:
>
> 1. stage-design:
> scaffolding – trees – heights – security. I think those are all
> good ideas that have to be figured out concretly and practically
> (obviously you are good at being practical, no?) It would of course
> be great to have a tree as beautiful as on your photos – but as I
> know from experience trees are only really beautiful if they’re
> real. Could we have a real tree or tree part like in photos 10 and
> 11? Or a trunk?
> silver floor: i love the idea of having a silver floor. Estelle
> Héritier, swiss choreographer made a piece once with a silver dance
> floor and it was very beautiful. I like the abstract part about it
> that can become concret (mirror, reflections, double-personnality
> etc). Maybe a silver dance floor would be nice for a solo because
> the solist can double with his own image? and the scaffloding-tree
> installation (if it’s well done) I can imagine for both.
> have a look at those links:
> http://www.mentary.com/chapuisat/
> http://www.estelle-lacie.com/a11.php
>
>
> 2. distribution
> I think Rafal has to decide about that – I agree to any. Just:
> crisis situations are always interesting in solos. But then I
> understand also if you don’t want to be alone to be confronted with
> it… It’s a shame Mariusz is not responding. He’s going to have a
> baby soon – maybe that’s why?
>
> 3. women from the dunes:
> I saw the movie, didn’t read the book. I liked a lot the slowness
> of the actions, the repetition of the actions, the sand, the wind
> and the sand that make abstract forms, the silence due to the sand,
> the non-verbal conversations between the caracters that said more
> than 1000 words etc. This can be an inspiration for duet or solo.
>
> 4. music:
> yes, I think its better to use existing music – do you think of
> hiring a sound-engeneer to put it all together and who could mix
> ambiances, can make pieces shorter or longer etc.? I think it would
> be good to have someone for the last two weeks for that. What do
> you think? How do you usually work with sound/music?
> here my post adress:
> Nicole Seiler
> I’ll be happy to listen to your music.
> Sometimes a piece of music can be inspiring to find a scene, but
> then you throw it away, put something else or put nothing. I work a
> lot with music in rehearsals and for improvisations.
>
> 5. you know, I really like the way you are romantic and are a
> little ashamed of it. I think this could be a great starting point
> for a solo… When we met last year you said something that I still
> remember: “I’m just so romantic and it always gets in my way.” (or
> something like that…) I think you should be what you are, that’s
> what’s beautiful!
>
> Have a nice day,
> looking forward to hearing from you,
> Nicole
>
>
> —– Original Message —– From: “Rafal Dziemidok”
> To: “Cie Nicole Seiler”
> Cc: “ewagarniec”
> Sent: Wednesday, February 11, 2009 11:06 AM
> Subject: Re: project
>
>
>> Hello Nicole
>> So, i am happy that edyta is still with us on it and that we have the
>> festival. As I wrote in previous, common mail (by the way we can stop
>> discussing things with her for a while, I will just inform her about
>> the key conclusions we will reach along the way) the dates we will
>> try to make as late as possible. To decide about the venue we need a
>> couple of more days. The choice is between two, one is definitely
>> better than the other (koneser), the other (basen) is strategically
>> better, because I have more and more connections there, and we might
>> use it later as a place to store the set or even perform the show
>> again. So, it is between better and between the practical. Those
>> considerations are important but I am just becoming aware that I must
>> not be so practical, because it also leads to disaster, the same way
>> that complete disregard for practical issues does. Also, Lena should
>> be contacting you about the details of your travel and stay, she
>> hasn’t done that yet, has she.
>>
>> Now, let’s get into your questions.
>>
>> 1. site specific. Sometimes I just need a very small impulse to make
>> a decision.
>>
>> 2. scaffolding. My personal look at at this is again, instinctive. Of
>> course I have seen something like that somewhere, years ago. I
>> remember I was incredibly moved by the physicality of the performers
>> who had to climb up and down. I guess their strength and then the
>> lack of it, the effort they had to put into it was a part of it.
>> Moreover, as I wrote you, I am very much on the lookout of the new
>> things for myself. New ideas, new techniques, new me. I know, this
>> part of me will be with us throughout this project. I am actually in
>> the state of crisis, which I hope will take me somewhere new. The
>> crisis is about me not trusting anymore anything I have accumulated
>> as a dancer along the way. I am tired with my body, with my dance,
>> with myself. I would like to find some new values.
>> Maybe, instead of looking someplace else, I should backtrack to
>> places I have already been at and explore something I lost, because
>> maybe the new thing is not possible at all anyway. The scaffolding
>> for me is the new. The new, the unknown, the uncomfortable, the
>> risky. Crisis. But I am aware that it is only my personal approach.
>> the use of such item will also have a meaning and I do not really
>> know, what that meaning is. For me, again, the idea of the
>> scaffolding came from the trees, the trees on photos I send you (I
>> actually have more and if they are not too heavy I will mail them
>> now). So the scaffolding, comes from the tree, the tree branches,
>> from being above the ground, from being safe above the ground. Now, I
>> am thinking, that maybe the scaffolding (if we decide to use it)
>> could be more irregular, not necessarily, a specific, building site/
>> civilisation scaffolding, but more a stylised tree, a designer’s
>> fantasy about a tree. Ewa? Thoughts about that? Technically, I think
>> this can be handled. Provided we have the money, but I assume we
>> will. We could have it fixed somewhere and then transport it or make
>> another piece.
>>
>> 3. woman of the dunes. In a duet yes, but remotely. in a solo, I
>> really do not know how to incorporate it. In a duet I see it as an
>> idea of changing roles in a relationship, how we take up roles of
>> mother, father, child, depending on what the situation is (trio is
>> good for that, but duet could do too). Also, freedom/dependence
>> issues are very important to me. codependence. brutality, abuse,
>> sexuality. I am not afraid of the obvious homoerotica, which
>> accompanies male duets, I think it is interesting if you approach it
>> from the angle of violence which very often has a very erotic subtext
>> and not to make it into pieces about being gay. So Elfriede Jelinek
>> rather than priscilla Queen of the Desert. That is the reason behind
>> the duet option plus a challenge for me (since I masochistically try
>> to put myself in the situation which ill make me evolve, ha ha). I am
>> also intrigued by the dramatic impact of falling from the scaffolding
>> (mattraces).
>>
>> 4. number of dancers. Cannot decide. But I am starting to give up on
>> Mariusz, I have a feeling it could be too impossible, I also left him
>> messages and got no response yet, and if it is because he’s a diva,
>> then hell no, not too many of us in the same project!
>>
>> 5. Not being ashamed. Ok. I won’t and I will try to infiltrate my
>> ideas till the end. So what is with this nature thing. I cannot tell.
>> It is just that I feel so inspired and so at peace with the life
>> around me now. It is hard not to comment on that. the nature here is
>> kinda romantic, so it does grab your soul, if you have one. Something
>> in me protests against the ‘earth and water’ inspiration, since it is
>> the ultimate new age/crap/bad/bad/bad/passe thing. But maybe if I
>> process those inspirations enough, then they become abstract, and as
>> such remain only ours, confidential, you know what I mean. I have
>> images of earth on stage (god, forgive me) and of performers covered
>> with earth. Now that was bad, wasn’t it. and the scaffolding. What
>> happened to me.
>>
>> 6. Music. I am very willing to use ready music. Not to hire a
>> composer. I have some things in mind and I would probably need your
>> regular mail addresses – for both ewa and nicole so I can send it to
>> you via regular mail, since my connection will not handle that.
>>
>> So. For now:
>>
>> 1. edyta and I figure out the dates.
>> 2. I need to figure out the number of dancers. Please let me know
>> what you think, since I obviously cannot decide
>> 3. scaffolding or no scaffolding (ideas please).
>> 4. themes from the book v. completely new ideas, or both (i think the
>> nmbr of dancers decision will greatly help here.
>> 5. mailing addresses, so I can mail you certain music proposals.
>>
>> Exciting, huh?
>>
>> best regards
>> ps
>> I also was thinking about using plexiglass panels on the floor, or
>> some other shiny shit (silver floor??) maybe on part of the stage, or
>> on all the stage, so it could reverse the lights like water (what the
>> hell), ewa and me talked about it once in Olsztyn, remember?
>>
>>
>>
>> On Feb 10, 2009, at 11:46 AM, Cie Nicole Seiler wrote:
>>> Hello all,
>>>
>>> thank you Rafal for sharing your ideas!
>>>
>>> 1. I’m glad you could give up the thought of a site specific
>>> project so easily…
>>>
>>> 2. About the scaffolding idea:
>>> what does it mean? in what relation would you like to use it?
>>> – the wish of men to fly?
>>> – a real situation of a renovating-site? workers? social issues?
>>> – an abstract way of putting the floor to the wall?
>>> – I think if you use a scaffolding you will need the scenography
>>> for rehearsals which means a big installation – do you have the
>>> space for that?
>>>
>>> 3. Is there something left of “women in the dunes”?
>>>
>>> 4. Have you decided about the number of dancers?
>>>
>>> 5. And just a little thought or advise (to leave or to take…):
>>> don’t be ashamed of being inspired by nature or of any other idea,
>>> but go to the end of it, explore and question it, be concret about
>>> it and only then judge it, then keep it or throw it away…
>>>
>>> Have a nice day,
>>> looking forward to hearing from you,
>>>
>>> Nicole
>>>
>>>
>>>
>>> —– Original Message —– From: “Rafal Dziemidok”
>>> To: “Cie Nicole Seiler”
>>> Cc: “ewagarniec” ; “Edyta Kozak”
>>> ; “Lena Rogowska”
>>> Sent: Friday, February 06, 2009 11:20 AM
>>> Subject: Re: project
>>>
>>>
>>>> Hi
>>>> First of all I am much relieved that you are still with us, even
>>>> though anka had to step down.
>>>>
>>>> So, I think the site specific thing we can give up on. It is clear
>>>> - your argument is 100% true, I just somehow wanted to have a
>>>> sort of a new opening. And I am glad we gave it a thought. We
>>>> have to make a decision about the venue then and this we have to
>>>> negotiate with the festival.
>>>> Your dates suit me very well and I hope are also good with the
>>>> festival – we still do not know the exact dates of the whole
>>>> thing including our premiere, but it seems it should be all ok.
>>>> Now, about solo-duet-trio issue. A solo sounds really tempting.
>>>> It would be a simple, clear colab situation. The thing is though,
>>>> that I made very many solos in my ‘career’, including the one
>>>> last year, the one you saw (which got nominated to the ‘best
>>>> dance show of the year’ title by Polish theatre magazine – funny,
>>>> huh?). Also, solo is a very dominant form in Polish dance now. On
>>>> the platform, almost only solos, and people really make a lot of
>>>> them. On the other hand, it is a very natural form for me, I have
>>>> always made solos, never with anybody’s direction/choreography
>>>> though. So this would be a major change, yet the whole setting of
>>>> a solo work is familiar to me and I am very experienced with it.
>>>> Yet – i never worked with a choreogapher/ dramaturg/supervisor/
>>>> outside eye/whateveryoucallit on my solo piece. So it would be a
>>>> lot of familiar with a lot of new. Very interesting.
>>>>
>>>> On the other hand, a duet for instance with Mariusz seems also to
>>>> be a good idea. I was thinking about him because we do not really
>>>> know each other well, yet I like his dancing a lot and we are
>>>> also very, very different in every aspect and it does not scare
>>>> me (which is not at all obvious). On the contrary, it kind of
>>>> excites me. It seems to me also that we could both be pretty
>>>> challenging to one another, yet not necessarily getting into the
>>>> pissing contest. Maybe we could be very complimentary, in a way
>>>> it could be a solo, but for two. Frankly speaking, though I do not
>>>> see any other dancer apart from Mariusz whom I would really like
>>>> a duet with. It is just that i think that a male duet is more
>>>> interesting to me now, and there are not so many male dancers
>>>> that come to my mind in the context of this work. Basically it is
>>>> only him.
>>>>
>>>> This is also one of the reasons I was thinking about a trio. I
>>>> know at least three very exciting female dancers who could do the
>>>> project. And having one of them, we could settle for some other
>>>> male dancer - Mariusz or not Mariusz to complete the trio,
>>>> because then it would not be sooo important. It is hard to
>>>> explain those things too, because those choices are made
>>>> instinctively. I think I need some more time to think about it -
>>>> also Mariusz I have not been able to get a hold of for days now.
>>>> So I do not know. Solo? Duet with Mariusz (which is also
>>>> technically very hypothetical, since I have not been able to talk
>>>> to him yet)? A trio seems to be too difficult for now, so maybe
>>>> we could cross it over.
>>>>
>>>> This seems to be a major decision and most basic one now. I
>>>> believe we would be takinfgcompletely different decisions about
>>>> everything if it is a solo or if it is a duet.
>>>>
>>>> I just want to tell you what I am thinking about, regardless of
>>>> the form we choose.
>>>>
>>>> 1. To have a part/all of the piece performed on scaffolding which
>>>> would be specifically installed on stage (sort of scaffolding
>>>> used for renovation, but with thinner bars, so I/we could dance
>>>> on it, grip it, climb etc.). I was also thinking about having
>>>> mattraces, the ones used in track competitions, so I/we could
>>>> freefall from height and not get killed (for me it would be a
>>>> major challenge, since I am scared of heights – to be overcome)
>>>> 2. I know this is going to sound really cheezy, but a lot of my
>>>> inspiration and energy comes from nature. I moved to the country
>>>> and I cannot believe my eyes – the world around me is so striking.
>>>> 3. I naturally have a tendency to built very theatrical
>>>> situations and to work with character a lot. I never can really
>>>> let go of it, which is not bad, yet what is interesting to me is
>>>> choreography- phrase-movement creation, relationship with space
>>>> and time/music, rather then building a character, relations and
>>>> emotions. Especially because i will always have that, this is
>>>> simply my natural inclination.
>>>>
>>>> So the questions for now are:
>>>> solo/duet controversy
>>>> venue choice
>>>> how u feel about my three important things
>>>>
>>>> all the best
>>>> r
>>>>
>>>
>>
>
3.marca
Hello again
So, I will try out to summarize my recent development.
The initial concept of the piece – for anka and me – were freedom/
responsibilty/dependence/independence issues coming from Kobo’s book,
saturated with certain aesthetic/energy feeling connected to the film
based on the novel and to the peculiar rhythm of both (novel and
film). When I was still thinking about male duet, it seemed
interesting and natural to keep it this way. Now, the more I get into
my own world, it seems irrelevant. Basically because I have no stage
partner. Moreover, my own sensitivity and my own sense of importance
seems to take me someplace else. Although, it is only text-wise. In
terms of energy and some general feeling of the piece, I think it is
very close to both the book and the film. It is the text, the issues,
that are different.
So what are the issues. Now, sorry for saying really stupid and
cheezy things. The issue for me is defrosting, dehybernating, coming
back to movement, from stillness. Breaking the ice. Moving the ice.
Obviously, in order to address this, I think it is important to
penetrate the stillness the iciness. I think, I already have the
title for the piece, even though it is least of things I should worry
about. It comes from one of the works by Leifs I send you – Drift
Ice, which in Polish is Kra.
Another thing about Leifs is that in his work I can feel how he
addresses nature – world – life in a very basic, pagan, fundamental
sense, and that is also very interesting for me, and I also think it
is close to the way the world was shown in Kobo’s view.
So, it is supposed to be a long solo piece. Long is not demanded, but
I have a feeling that we need time to speak.
A long solo piece with a lot of movement (no scaffolding, I think
that I should really work on the movement in order to grasp what i
wanted with the scaffolding) and definitely very abstract as a result.
Silver floor. Relationship with audience – zoolike (they are in a
zoo), character – energy.
references: kitt johnson – long solo, fascinating because of the
dance she proposes topic being completely trivial. forsythe, paxton
solo work (not that i would attempt or compare…) – abstract male
dances very successfully focusing around vocabulary. I do not like to
make references at this point though, because I easily get into
dialogue with those references (they become my departure point), and
this time I would like to dare not to castrate myself from the start
with the ‘everything’s been already done better’ phrase. So it
becomes a little but about me daring to be me. And what is me – I am
in process of discovering.
the central problem for me right now is to get enough material
(visual, sensual, physicla) to be able to produce movement material
that would mean something, which would be new. Clearly
choreographical issues. Performance issue: to express, not to decide
to express. Just be there and express, the way trees do.
I am sending more photos. Sorry if it annoys any of you.
Ideas for the piece – audience seated on two sides (left and right,
or front and back), with performing space in between.
And finally something I feel very strongly about. I think it should
be a kinda duet with ewa – without making her to perform on stage but
i think it would be good to have her- you on stage with me and to
have her-you somehow orchestrate, call the parts of the piece, by
executing her-your control over soundtrack and light. Not to mention
that lights must be very special, they must be my partner, or even
something more important than a partner. this idea comes from the
improv bits we did with ewa, also in my last solo her-your presence
was very pronounced and clear, I think it could be very interesting
to push this idea.
9.marca
Hello Nicole
Things are moving on. The date of the premiere is saturday the 6th. We are considering an option of performing also on the 7th, which I do not know if is possible from the point of view of the festival, either if it is good for us. to me it sounds good, since if we perform twice, more people will have a chance to see it.
The festival will chip into out budget – good news. However, the space we wanted is unavailable, we will settle for some other, they gave us option of two. We need some time to decide, the photos will be mailed to you.
From the beginning of may, probably the rehearsals will be in the performing space which is good.
I am very happy you are not turned off by my ideas, I will try to clarify things which you ask about.
The music by Leifs is used by me as inspiration a help to feel and visualize things, since it is so literal and monumental. I do not think it is good to use it in the piece. There is only one composition I am considering right now, it is the 10 variations on the beethoven’s phrase. I think it is very abstract and very formal . There are 10 sections that can be used partially or wholly, or mixed, or looped or whatever. It is also relatively short, the whole composition is about 12 minutes and I thought to disperse it throughout the whole piece, 2 minutes here, 2 minutes there. However, it is far from decided. I believe the music for work can be substituted by the actual music in the later part of the production. Right now for me it is hard to imagine what would fit, but I think we will have options. I am also using other compositions for work, but I definitely do not see them in the production. My feeling however is that classical is good. maybe because I am tired of electronic, noise, etc. always present in dance pieces.
To me, long is 40-50 minutes, 50 being very, very long.
Silver floor looks more and more real technically and financially and yes, I think we do not need anything else.
The question of space is the question of the audience. the idea to have them seated on two sides with the performer in between is just an option, an idea. To me it is interesting, because it makes the piece not so frontal and gives me no safe place, I am always in somebody’s vision. I just try not to take the standard theatre-like solution as a must, since I think it is a separate issue which greatly influences the work – where they sit? But it does not really mean anything (the idea of two sides) it is purely instinctive.
That is all I know for now. tomorrow I have a shooting for Polish cultural channel, I will have a long time to improvise in front of the camera, I wonder where it takes me.
ciao
r
On Mar 7, 2009, at 12:17 PM, Cie Nicole Seiler wrote:
> Dear Rafal,
> thank you for your thoughts and photos – yes I got them all right!
> I will answer in your mail below.
> Have a good weekend!
> Nicole
>
>
> —– Original Message —–
> From: “Rafał Dziemidok”
> To: “Cie Nicole Seiler” ; “ewagarniec”
> Sent: Tuesday, March 03, 2009 11:52 PM
> Subject: Re: music
>
> > Hello again
> > So, I will try out to summarize my recent development.
> >
> > The initial concept of the piece – for anka and me – were freedom/
> > responsibilty/dependence/independence issues coming from Kobo’s book,
> > saturated with certain aesthetic/energy feeling connected to the film
> > based on the novel and to the peculiar rhythm of both (novel and
> > film). When I was still thinking about male duet, it seemed
> > interesting and natural to keep it this way. Now, the more I get into
> > my own world, it seems irrelevant. Basically because I have no stage
> > partner. Moreover, my own sensitivity and my own sense of importance
> > seems to take me someplace else. Although, it is only text-wise. In
> > terms of energy and some general feeling of the piece, I think it is
> > very close to both the book and the film. It is the text, the issues,
> > that are different.
>
> For me as well, the general feeling of the film and the way you are thinking about your solo is very close. Both talk a lot about time and loneliness, about searching to find an issue, of doubts, of change of life.
> >
> > So what are the issues. Now, sorry for saying really stupid and
> > cheezy things. The issue for me is defrosting, dehybernating, coming
> > back to movement, from stillness. Breaking the ice. Moving the ice.
> > Obviously, in order to address this, I think it is important to
> > penetrate the stillness the iciness. I think, I already have the
> > title for the piece, even though it is least of things I should worry
> > about. It comes from one of the works by Leifs I send you – Drift
> > Ice, which in Polish is Kra.
> > Another thing about Leifs is that in his work I can feel how he
> > addresses nature – world – life in a very basic, pagan, fundamental
> > sense, and that is also very interesting for me, and I also think it
> > is close to the way the world was shown in Kobo’s view.
>
> I like a lot the title – Kra. And I think it’s important to have a title. I think it’s a good sign that you have the title already for as it means that you know now what the essence of your piece should be about.
> I’m listenning to the music as I’m writing this – I think it’s great to work with, I’m not so sure if it’s so interesting to use for the piece – or then it depends how – maybe in interaction with silence, lots of silence? Do you have other music in mind? very different style?
>
> >
> > So, it is supposed to be a long solo piece. Long is not demanded, but
> > I have a feeling that we need time to speak.
>
> how long is long to you? 50 minutes? 2 hours?
>
> > A long solo piece with a lot of movement (no scaffolding, I think
> > that I should really work on the movement in order to grasp what i
> > wanted with the scaffolding) and definitely very abstract as a result.
>
> I like it.
> >
> > Silver floor.
>
> I love the silver floor. maybe we don’t need anything else but the silver floor?
>
> Relationship with audience – zoolike (they are in a
> > zoo), character – energy.
> > references: kitt johnson – long solo, fascinating because of the
> > dance she proposes topic being completely trivial. forsythe, paxton
> > solo work (not that i would attempt or compare…) – abstract male
> > dances very successfully focusing around vocabulary. I do not like to
> > make references at this point though, because I easily get into
> > dialogue with those references (they become my departure point), and
> > this time I would like to dare not to castrate myself from the start
> > with the ‘everything’s been already done better’ phrase. So it
> > becomes a little but about me daring to be me. And what is me – I am
> > in process of discovering.
> >
> > the central problem for me right now is to get enough material
> > (visual, sensual, physicla) to be able to produce movement material
> > that would mean something, which would be new. Clearly
> > choreographical issues. Performance issue: to express, not to decide
> > to express. Just be there and express, the way trees do.
> > I am sending more photos. Sorry if it annoys any of you.
>
> Never annoys me!! Very nice photos. I will try to send you references, pictures etc. as well.
>
> >
> > Ideas for the piece – audience seated on two sides (left and right,
> > or front and back), with performing space in between.
>
> Why? what does it mean?
>
> >
> > And finally something I feel very strongly about. I think it should
> > be a kinda duet with ewa – without making her to perform on stage but
> > i think it would be good to have her- you on stage with me and to
> > have her-you somehow orchestrate, call the parts of the piece, by
> > executing her-your control over soundtrack and light. Not to mention
> > that lights must be very special, they must be my partner, or even
> > something more important than a partner. this idea comes from the
> > improv bits we did with ewa, also in my last solo her-your presence
> > was very pronounced and clear, I think it could be very interesting
> > to push this idea.
> >
> I like the idea that ewa is on stage with all the machines etc and is like a partner to you.
>
> >
> >
16.marca
Hello again
So, I am working on the dance already. My tv thing was kinda bizzarre, I was locked up in a small studio improvising and at the same time some people were talking about dance, and I joined them later. Whatever. For me it was important to start working on the piece and in order for the whole improv to make sense i took it as a first lab on the themes we talked about.
As a result i construed some kind of agenda for myself.
For last three years I was working a lot, dancing a lot and most of it was for show. The last big piece I made was with another Polish company that I work with and I feel I exhausted all my knowledge, skills and experience making it. So, in this work it is important for me to find myself again, or find myself finally, or whatever. I want to develop some idea for movement which would be mine and which would construe my ‘new me’.
So after the tv attempt I realized that I am not only doing the same thing all over again, but that I have less and less idea behind what I dance. It is just a bunch of tricks. What I am trying to do now is to retrace my steps. Reinvent the experiences I had, the breakthrough moments, the amazing and important ideas that I learned before. I want to go thru things that made me into what I am now and penetrate them again. and only later start working on the movement for the piece. Only then I will try to draw upon the visual, sensual and musical inspiration that I found so far. First I have to find the body.
So this is basically what I am doing.
I hope you are all well.
ciao
r
On Mar 12, 2009, at 5:21 PM, Cie Nicole Seiler wrote:
> Dear Rafal,
> ok, I will wait to book the flight until Krystyna will confirm about the second performance.
> Unfortunately my earliest possible date to come to Warsaw for this second period is on the 29th of may. Since the premiere date was supposed to be later I thought it could be10 days. Now it’s 8, but I’ll be with you for nearly 12 days during the first period.
> Have a nice end of the week!
> Nicole
> P.S. how did your tv impro go?
>
> —– Original Message —–
> From: Rafał Dziemidok
> To: Cie Nicole Seiler
> Sent: Wednesday, March 11, 2009 11:01 PM
> Subject: Re: music
>
> hello
> I think that we will know very soon if we have another performance and when, Krystyna our producer is working on it and she should contact you promptly (I never had so many people work with me before). We were talking about 10 days till the premiere, right, or did I mix something up?
> best
> r
> On Mar 10, 2009, at 2:37 PM, Cie Nicole Seiler wrote:
>> Dear Rafal,
>> nice to hear from you!
>> great news about the premiere date. maybe I should book my second flight now? or should I wait to see if you can perform twice? otherwise I would book from teh 29th of mai to the 7th of june. tell me.
>> great news as well that you ‘ll be able to rehearse very early in the performance space.
>> I’m looking forward to working with you.
>> toi toi toi for the TV impro!
>> nicole
>>
prawdziwa praca w procesie:
korespondencja z nicole – czyli jak rodziła się koncepcja KRY.
Rafał: Teraz gorsze wieści. Niestety z powodów zdrowotno-rodzinnych Anka nie będzie w stanie wziąć udziału w projekcie, co jak wiemy jest zasadniczą zmianą. Jednak ja nadal chcę wziąć udział zarówno jako tancerz jak i choreograf. Byłbym to ja z jakimiś innymi tancerzami/innym tancerzem (rozważam trio – 2 facetów i dziewczyna, a jeśli duet to męski) oraz Nicole jako artystycznym doradcą projektu, jak to uzgodniliśmy wcześniej. Kształt artystyczny projektu oczywiście zmieni się trochę, ale mam kilka dobrych (tak mi się wydaje) i jednocześnie prostych pomysłów, które chciałbym omówić z Nicole i Ewą poprzez maile, żeby lepiej uchwycić pomysł zanim ruszymy z próbami. One wciąż są w jakiś sposób związane z tekstem Kobo, ale bardziej skupiłem się na choreografii i ogólnie tworzeniu ruchu, więc te odniesienia są mniej liczne i i bardziej ogólne. Również w kwestii muzyki i kostiumów mam kilka wstępnych pomysłów do rozwinięcia. Istotne jest także, kim będą pozostali tancerze/tancerz, ale tu nie martwiłbym się specjalnie, bo nigdy nie miałem problemów z pozyskaniem kolegów do pracy ze mną. Wszyscy pracujemy tu w krótkim czasie i nie planujemy zbytnio na przód. Jestem dość optymistycznie nastawiony do tego wszystkiego.
Dzięki za odniesienia, które otrzymałem, są bardzo inspirujące. Jakoś potrafię wyobrazić siebie samego w tej pracy. Może dalibyśmy radę z ze srebrną podłogą, drzewem/pniem drzewa ( w zależności od możliwości finansowych i technicznych) i ze mną? Coraz bardziej trafia do mnie solo – to co pisałaś o kryzysie jest dla mnie przekonujące. Nie boję się konfrontacji, bardziej obawiam się o mnie samego, znowu stary ja, w solowej produkcji. Ale w końcu to większe wyzwanie podejść ponownie do tej formy. No i również to jest chyba ten czas kiedy trzeba skupić się na sobie, a nie inspirować kogoś innego, bo szczerze mówiąc nie mam czym. To ja potrzebuję inspiracji.,
Podsumowując:
Drzewo/pień + srebrna podłoga – do przegadania z Ewą
Solo-duet – kilka dni więcej do przemyślenia
Kobieta z wydm – rzeczy, o których wspominałaś bardzo mi się podobały i również jakoś grają z moim naturalnym/romantycznym/sentymentalnym wykrętem, bo to jest bliższe spokojnej, a odleglejsze od histerycznej sfery romantyczności.
Obawiam się tej romantyczności, bo jak jesteś facetem i wyglądasz jak ja i jesteś tancerzem i do tego romantycznym to jesteś jak placek owocowy, freak. Pina może być romantyczna.
Ja nie.
Nicole do Rafała: Wszystkie te dobre pomysły trzeba konkretnie opracować (jesteś dobry w praktycyzmie, co?). Byłoby super mieć tak piękne drzewo, jak to na twoich zdjęciach, ale wiem z doświadczenia, drzewa są tylko wtedy piękne, kiedy są prawdziwe. (…) srebrna podłoga: bardzo podoba mi się pomysł srebrnej podłogi. Estelle Héritier, szwajcarska choreografka, kiedyś zrobiła kawałek ze srebrna podłogą i to było piękne. Podoba mi się ta abstrakcyjna część, która może stać się konkretna (lustro, odbicia, podwójna osobowość). Może srebrna podłoga będzie dobra na solówkę, bo tancerz będzie mógł podwoić swój obraz.
Myślę, powinieneś podjąć decyzję o graniu w pojedynkę. Sytuacje krytyczne zawsze najciekawsze są wtedy, kiedy przeżywa się je sam na sam. Z drugiej strony rozumiem Twój opór przed samodzielnym konfrontowaniem się z tym wszystkim, co trudne…
Kobieta z wydm: widziałam film, ale nie czytałam książki. Bardzo podobała mi się powolność akcji, ich powtarzalność, piach, wiatr i piasek, który tworzył abstrakcyjne formy, cisza wywołana przez piasek, niewerbalne rozmowy pomiędzy bohaterami, którzy powiedzieli chyba nie więcej jak 1000 słów etc. To może być inspiracją dla duetu i sola.
Naprawdę lubię to, jak jesteś romantyczny i jak się tego trochę wstydzisz. Myślę, że to dobry moment wyjściowy dla solo… Kiedy spotkaliśmy się w zeszłym roku powiedziałeś mi coś, co nadal pamiętam: „Jestem tak romantyczny i to zawsze wejdzie mi w drogę” (czy coś w tym stylu…). Myślę, że musisz być tym, kim jesteś; to jest właśnie piękne.
Rafał do Nicole:
Przejdźmy teraz do Twoich pytań:
Myślałem również o zastosowaniu pleksiglasowych paneli na podłodze lub jakiegoś innego połyskującego badziewia (srebrna podłoga??), może tylko na części sceny, może na całej. Tak aby mogło to odbijać światła jak woda (…)
Nicole do Rafała: W kwestii rusztowania: co to miałoby oznaczać? W jakim odniesieniu chciałbyś tego użyc? Pragnienie człowieka, aby latać? Rzeczywista sytuacja placu remontowego? Pracownicy? Społeczne tematy? Abstrakcyjny sposób umieszczenia podłogi na ścianie? Wydaje mi się, że planując użycie rusztowania myśleć trzeba o obecności scenografii w trakcie prób, a to oznacza dużą instalację – czy masz na to przestrzeń?
Czy coś zostało jeszcze z kobiety z wydm?
Czy zdecydowałeś się na liczbę tancerzy?
Jeszcze jedna rada (przyjmij ją lub odrzuć…): nie wstydź się czerpać inspiracji z natury lub czegokolwiek innego, idź za tym pomysłem do końca, zbadaj go, obserwuj, kwestionuj… I dopiero potem go oceń, a na końcu odrzuć lub zachowaj…
Rafał: Myślę, że możemy darować sobie temat rusztowania. Wszystko jest jasne, twoje argumenty trafiają w 100% chciałem tylko czegoś nowego, jakiegoś nowego otwarcia. I cieszę się, że poświęciliśmy temu chwilkę(…) Teraz w sprawie solo- duet- trio. Solo brzmi nęcąco, byłaby to klarowna sytuacja. Problem w tym, że zrobiłem już wiele solówek w mojej karierze(…) Solo jest teraz dominującą formą w polskim tańcu. Z drugiej strony to bardzo dla mnie naturalne.
Zawsze robiłem solówki bez reżysera czy choreografa. Byłaby to zatem duża zmiana (…) Jednak duet z Mariuszem brzmi także nieźle. Myślałem o nim, bo my się naprawdę dobrze nie znamy, a mimo to bardzo podoba mi się jego taniec. I się bardzo bardzo różnimy. To mnie nie przeraża, raczej ekscytuje. Myślę, że moglibyśmy być wyzwaniem jeden dla drugiego bez jednoczesnego rywalizowania. Może bardzo byśmy się uzupełniali. Na swój sposób byłoby to solo, ale na dwie osoby. Szczerze mówiąc, nie widzę innego tancerza niż Mariusz, z którym chciałbym wystąpić w duecie. Chodzi o to, że męski duet bardzo mnie interesuje, a nie ma zbyt wielu tancerzy, którzy przychodzą mi do głowy w kontekście tej pracy.
To również jeden z powodów dla których myślałem o trio. Znam przynajmniej trzy ciekawe tancerki, które mogłyby wystąpić w projekcie. Mając jedną z nich moglibyśmy umówić innego tancerza, Mariusza albo nie, aby uzupełnić trio. Więc sam nie wiem. Solo? Duet z Mariuszem (który technicznie jest hipotetyczny, bo jeszcze się z nim nie kontaktowałem). Trio wydaje się zbyt trudne jak na razie, więc może powinniśmy je skreślić. To wydaje się najistotniejsza decyzja na ten moment.
Spróbuję podsumować dotychczasowy postęp. Wstępny pomysł na spektakl ze mną i Anką, to tematy wolności/odpowiedzialności/zależności/niezależności, obecne w książce Kobo; nasycone pewną estetyką/odczuwaniem energii, związanymi z filmem opartym na powieści. I ciekawym rytmem książki i filmu. Kiedy myślałem o męskim duecie, trzymać się blisko tego wydawało mi się ciekawe i naturalne. Ale im bardziej zagłębiam się w mój własny świat, tym bardziej wydaje się to nieistotne. Głównie dlatego, że nie mam scenicznego partnera. Co więcej, moja wrażliwość oraz poczucie ważności wydaje się zabierać mnie w zupełnie inne rejony…
Przepraszam teraz za wypisywanie tanich kawałków. Dla mnie temat przedstawienia to odmarzanie, dehibernacja, powrót do ruchu z bezruchu. Pękanie lodu. Poruszanie się lodu. I aby to przekazać konieczne jest spenetrowanie bezruchu, lodowatości. Myślę, że mam już tytuł tej sztuki, choć to najmniej ważna ze spraw, o które powinienem się teraz troszczyć. Pochodzi z jednej z książek Leifsa, które ci wysłałem – KRA. Kolejną rzeczą w muzyce Leifsa, która mi się podoba, jest to, w jaki sposób przekazuje naturę świat- życie w prostym pogańskim znaczeniu. To mnie bardzo interesuje. Myślę, że jest to bliskie poglądowi Kobo. Wygląda na to, że będzie to długi spektakl, długi nie jest pożądany, ale mam wrażenie, że potrzebujemy czasu, aby mówić. Długie solo z mnóstwem ruchu (bez rusztowania, myślę, że powinienem pracować ruchem, aby przekazać to, co chciałem uchwycić poprzez rusztowanie) I zdecydowanie, rezultat będzie abstrakcyjny
Nicole: Bardzo podoba mi się tytuł. KRA. Myślę, że to bardzo ważne: mieć tytuł. To dobry znak, że już go masz, bo to oznacza, że znasz esencję Twojego przedstawienia. Właśnie słucham tej muzyki, Leifsa. Jest rzeczywiście świetna do pracy, ale nie wiem czy nadaje się, aby użyć jej w spektaklu, a jeśli tak, to ważne w jaki sposób – może w połączeniu z ciszą, mnóstwem ciszy? Czy przychodzi ci do głowy inna muzyka? Zupełnie inny styl?
Długie solo – co znaczy dla ciebie długie? 50 minut, 2 godziny?
Podoba mi się pomysł z ruchem, srebrna podłoga jest świetna, skąd pomysł z widownią? Co to miałoby znaczyć?
Rafał: Muzyka Leifsa, użyta przeze mnie, aby wizualizować temat spektaklu, według mnie nie nadaje się do przedstawienia. Jest tylko jedna kompozycja, którą teraz biorę pod uwagę, to wariacje Bethowenowskie. Myślę, że Bethowen jest bardzo abstrakcyjny. I formalny. Jest 10 sekcji, które mogą być użyte zarówno w całości jak I w częściach, zmiksowane, zapętlone, czy cokolwiek… Jest to stosunkowo krótkie. Cała kompozycja ma około 12 minut, myślałem żeby porozrzucać ją po całym spektaklu. 2 minuty tu, 2 tam. (…) Daleki jestem od podjęcia decyzji. W tej chwili ciężko mi wyobrazić sobie, co będzie pasowało, ale myślę że pojawią się jeszcze różne opcje. Generalnie czuję, że muzyka klasyczna będzie w porządku, może dlatego, że dość mam elektronicznego hałasu, stale obecnego we współczesnym teatrze tańca.
Srebrna podłoga wydaje się być bardziej realna i finansowo i technicznie. I zgadzam się nie potrzebujemy nic innego.
Kwestia przestrzeni to kwestia widowni. Pomysł z usadzeniem ich po obu stronach z tancerzem pomiędzy nimi to tylko pomysł, opcja. Wydaje mi się interesujący, bo to nie uczyni spektaklu takim „frontowym”. I nie stworzy mi bezpiecznego miejsca, zawsze będę widziany przez kogoś. Po prostu staram się nie korzystać koniecznie ze standardowych teatralnych rozwiązań, myślę, że na kształt przedstawienia wpływa także decyzja– gdzie sadzamy publiczność? Nie ma w tym żadnych ukrytych podtekstów i sensów, pomysł z dwiema stronami jest po prostu instynktowny.
To tyle, jutro mam zdjęcia dla polskiej tv kulturalnej, mam improwizować przed kamerą. Ciekaw jestem, gdzie mnie to zawiedzie.
Rafał: Przez ostatnie 3 lata dużo pracowałem. Przede wszystkim po to, aby się pokazać. Ostatni duży spektakl, który zrobiłem z polską grupą, wyczerpał całą moją wiedzę, umiejętności i doświadczenie. Dlatego w tej pracy bardzo ważne jest dla mnie odnalezienie siebie samego; ponownie lub ostatecznie. Chcę ukształtować jakiś ruch, którego nie znam, a który były mój – zbudowałby nowego mnie.
Po występie w telewizji zdałem sobie sprawę, że co prawda nie robię ciągle tej samej rzeczy, ale coraz mniej sensu, esencji, kryje się pod tym, co tańczę. To tylko garść sztuczek. To, co próbuję zrobić teraz, to powrót po moich własnych śladach. Ponowne odkrycie doświadczeń, które miałem, przełomowych momentów, niesamowitych i ważnych idei, pomysłów, które mnie kształtowały. Chciałbym przejść jeszcze raz tę drogę, która uczyniła mnie tym, kim jestem teraz, spenetrować ją ponownie. Dopiero później zacząć pracować nad ruchem do tego spektaklu. Spróbuję sięgnąć po inspiracje wizualne, zmysłowe i muzyczne, które odnalazłem do tej pory.
Ale najpierw muszę odnaleźć ciało.
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