Slideshow for The Sun King

Posted by DCA Theater on April 16, 2012 in January - July 2012 Season, DanceBridge Showcase Winter 2012

Submitted by Joseph Caruana, participant in DanceBridge Winter Session 2012

Here’s a look at rehearsal for The Sun King, a DanceBridge work-in-progress in the DCA Dance Studio at the Chicago Cultural Center.
Photographs by Christopher Alexander.

Photographs by Christopher Alexander.

disRuptureEnrapture 9

Posted by DCA Theater on April 15, 2012 in January - July 2012 Season, DanceBridge Showcase Winter 2012

Submitted by Nicole LeGette, participant in DanceBridge Winter Session 2012

4 separate pips in a single seed, one breath, one brain, gelatinous, encased in a single delicate membrane. Sensing from thigh-to-thigh, back-to-chest, neck-to-neck. close as possible without touching. Sometimes this, sometimes that. Puppy-puddle. The chorus.

The evening-length performance of disRuptureEnrapture features live music with surprises. April 27-29th at Links Hall. https://disrupturelh.eventbrite.com/

The week before the performance, I will teach a workshop, FERTILE SOIL: A workshop in ‘Butoh Sense’ April 21-22 at Links Hall. https://fertilesoilworkshoplh.eventbrite.com/

disRuptureEnrapture 8

Posted by DCA Theater on April 14, 2012 in January - July 2012 Season, DanceBridge Showcase Winter 2012

Submitted by Nicole LeGette, participant in DanceBridge Winter Session 2012

open your eyes wide, seeing only through peripheral vision, cultivate open third eye on your forehead—like a window—keep your head up.  Now pick up all the uncooked rice you spilled on the floor—grain by grain. Low body position + See/Feel through your palms and fingertips, toes and soles of feet.

disRuptureEnrapture 7

Posted by DCA Theater on April 14, 2012 in January - July 2012 Season, DanceBridge Showcase Winter 2012

Submitted by Nicole LeGette, participant in DanceBridge Winter Session 2012

How do we ‘see/perceive’ threat, intimidation, menace, danger in another person? Where is it located—in the body, in the attitude/presence, in the projection/perception of the viewer? Investigating these questions in rehearsal—trying to develop ‘threatening poses’ and ‘walks of intimidation’ to create an aura of menace, possible danger/threat. How is this achieved? It is not located in one place or by a single aspect—not only the body position, action or facial expression—-but something more powerful about mode of presence (of the one) and sensing/perception (of the other)….
And then we learned about the Trayvon Martin incident in Florida.  What exactly made Trayvon appear ‘suspicious’ a danger, a threat to be pursued? ....it’s not about the clothes. How did George Zimmerman come to that conclusion in the first place?

disRuptureEnrapture 6

Posted by DCA Theater on April 11, 2012 in January - July 2012 Season, DanceBridge Showcase Winter 2012

Submitted by Nicole LeGette, participant in DanceBridge Winter Session 2012

ghost/lost soul with no feet, empty dry membrane, hollow bones, transparent:
lift inner arches of feet, draw body weight up against gravity, capture it in your pelvis/lower abdomen, connection between inner arches with hip+ pelvis, soft knees, soft ankles but strong thigh muscles, upper body lifted (from lower abdomen)—not falling—as if suspended from a cloud. Activated whole body, strong effort yet obscure the effort= manifests opposite effect from the action. This is a key component of butoh; using maximum effort but not performing the effort, instead producing a different outcome—it’s a contradiction.