EGG the Arts Show; 202; Body Language

I think that is joyous. It's the body speak. I don't want to make order out of the story is more important. Your feelings your love for someone you're telling a story in higher Bara us to speak. Body Language. Tonight on a major funding for egg has been provided by the Pew Charitable Trusts investing in ideas returning result. Has also made possible by Dorothy and Lewis column and the Lou Esther tea Mirch Charitable Trust. Marilyn am Simpson charitable trust Sylvia and Ralph Avlon. And by contributions to your PBS stations from viewers like you. Thank you. What a. It is definitely a language. You're saying that the beauty of the rain.

You know you would have to show the beauty somehow. And then you show the rain. The motions that depict what it is the dance is speaking about. Several ways to designate certain things. This could be a mountain motion. This could be a mountain motion. This could be a mountain motion. If your turn comes from you you are giving your heart my love to you from me to you. If you're turning the hand you're inviting as though to say Come with me let's go up to the mountains then right. Right.

The water. Tells a story you cannot dance to it and sure mental. And so each story is different and it challenges you to bring out the emotion of that story. If the story is very formal your body is very conservative in the movements. It is very humorous. Your body takes on a rock style. You're telling the story. However you have to tell it to make it believable. Is your business for you. Some just ranges from such a wide variety. Your feelings

your love for someone you love for a place on earth the chiefs from the past it honors the different. Chance recorded our history. Yes that was NOS. OK my goal is to prepare the next generation so that they are strong in the culture so that they have the ability to continue that transmitting of knowledge to the future generation. You need to remember to touch to touch softly

to give that brushing by someone something softly. That's what I see that. The most important aspect in the performance is that the dancer understands every nuance of what it is that they're dancing. I'd rather have the dancer be able to keep that spirit from within themselves than to have the motions done perfectly. I can teach anyone to dance perfectly but I cannot teach you to have a deeper understanding to bring forth the Spirit of the debt.

And in my opinion that's what separates someone that can and someone that adapts. It is really under appreciated for all of the different disciplines it really is just a storytelling. It's not just about acting you know in terms of emotion that you have to do all the things as an

expression of a boy people. And that's why we have the heart of the boy. In all my world and every experience that I want to share with

the viewers. I want them to get a story or. Feel. Some kind of visceral emotional or spiritual connection to the work. The name of my company's evidence started in 1985 and at this point there are eight dancers. Meet. This new piece it's called walking up the dark. And. I guess it's about the tradition of going into exile for spiritual contemplation. These people go and spend this time in the dark or in the city in hell in the gutter doing things that they might be ashamed of or just that kept them away from their true selves

come. Eat. I'm still at the beginning and the sections I've been working on are about this kind of apology that these people owe their brother sister mother and it has the undulation this desire to give this apology what the hands are open asking and playing around with the idea that these people don't know where to go. That is kind of going in different directions this kind of tight twisted feeling that I want to walk around here to the right. Like you going that way every time around. This person is. Looking for. And then they drop expecting the person to open

expecting the person. And they don't. This recovery coming back to face the person with this conversation. Is waiting for him to just accept her openness and help. And like you come in. We turn away. And your heart is going out to her but you don't want to break if you try to live your life you can't be bogged down in the relationship you want to get well you know that's right. So you can't say don't let it out. Bob and Dan were just two. That's when you want to because that's the hint of

oh you know we all walk through this. Thanks. I think body language is real clear with it. I'm open I'm happy to meet you or your strange and I don't want to be part of the weight. Grieving you know all of that is just what we have to try and get in touch with when we are creating work. I don't want to make or get a friend. The story is more important to me. In the piece my character is trying to work out his conflict with his sister. At the same time. There is something to do with his desire to be open and him trying to spend time with himself in a severe relationship

with my sister. There's something missing in the way as I'm trying to get this block going right but if something is open because we kept to keep trying to connect it to the creator come around and down my center to this kind of pole to my sister. And then there's this kind of helpless moment and we can come back into this. I just wanted someone to hold me and so I wanted to kind of open up and confess that to my sister. I've tried to go from this kind of open this this need for desire into a. Movement that shows little vulnerability and his desire to be killed. And because it's just him doing it. His need to hold himself to take care of himself. Whenever I'm creating word the purpose of the world is to share it. So I want it

to be clear and I believe that my job is to get to the essence of the work for me to find it. For me to unveil it. So I try and get myself out of the way try and get my. Ego out of the way and have less spirit just trying to find a movement that expresses that. I think dance is joyous is one the full joyous kind in saying.

It's really about life. It's living. It's your whole body. It's the whole body. Speaking. World who all being. The I want the ear. Thank God I've made about Peter that on da da da da da da dum. Did it hurt on all of us to passe passe passe. We are a ballet company based on the traditions of George Balanchine the approaches of. George Balanchine. George Balanchine is the single greatest

choreographer in the history of dance. That's a major statement but he's the most creative most inventive. He like a Picasso in history since he basically changed the face of his art. When you finished dancing What else do you do. You have to pass on the information that has been passed to you body to body and mind to mind I had an awful lot of information from the Balanchine's the robins etc. So that was always in the back of my mind. But also it was in the back of my mind seems to make a company that I would like to have danced. For. The embodiment of a Balanchine dancer I think is speed.

Quickness. Of feet. Strength. Of feet. Passing through position not holding position. Energy vitality joyousness intelligence. Wit. Unfortunately that's something you can't teach. And so that's what I look for. I look for the talent. Don't look for the technique because you can teach technique to anybody. You can't teach talent to anybody. You. Don't. Now. Thank you. Sir. Oh. Yes. Voss fantasy is one of those fascinating Balanchine pieces in that it's a 19th century style addressed by a 20th century genius.

I think the most important approach to a 19th century work done by Balanchine is is the attack. It's not just that you make the note. But it's how quickly you get to it and how quickly you get off. We. Now get to get there with the art director. Attack. You know you see you grow up. It's one. We want. I don't. Want. That. When Balanchine choreographed he choreographed about the music. Sometimes we think it's only about the steps but it's really how he placed the step on the measure the scale and he just keeps shifting accents. And when you subdivide in shifty accents it it it gives you a less predictable performance one and. A

one and. One. And done. Right. That's. Why this is. Passion. And they follow. The ability to personify. Music. To. Speak a physical language that it is such a talent. We are classical ballet dancers but what we have done is we have taken human movement beyond. And and we have simply formalized human gesture. Just. Rolled away. It's it's a difference between. Doing a steady. Dance. And. We know the steps. Technique is right. For the last.

Dance. Balanchine had a wonderful phrase Yalit in the sand. You see the music and you hear the dance. It's. Like. Living out loud with your body. It's like shouting out loud with your body to get where a body. Is to. Speak. Mine except for the Shelby song meet the artists get cool tips on how to make

art do in your own neighborhood. Speak out on big issues facing the arts today. Get out. Log on and go online. And now one minute. Coming soon and.

It's from us it's traumatic to me. Comforting concept. I mean it all seems very natural to me. A song about dance Miss mountain music. I think it's proper to papers just long long. For many people. I am horrified Morticia. I don't see About what. Death gives me a creative opportunity. Giving up the ghost coming on. Again.

Major funding for eg has been provided by the Pew Charitable Trusts investing in ideas. Returning results. Of. Aid is also made possible by Dorothy and Lewis Coleman. The Esther t Mertz Charitable Trust. Marilyn am Simpson charitable trust Sylvia and Ralph Avalon. And by contributions to your PBS stations. From viewers like you. Thank you. This. Is the PBS.