May 9, 2011

Interview

The hands-down most ridiculous part of the uber watched Michael Jackson and Oprah interview from 1993 is this:

MJ: If I had the chance to talk to Michaolangelo, I’d want to know what inspired him to become who he is, the anatomy of his craftsmanship, not about who he went out with last night or how long he sat in the sun. I mean that’s what’s important.

O: How much plastic surgery have you had?

Listening happens sometimes. Not this time (above) but some times.

The experience of the performer within a piece of work is rarely discussed in talk back sessions, Q&A’s and interview settings. If performers can begin to articulate the process of making work come alive, we will share and learn more from each other while developing more choices for how to engage material (generated or given or in between).  Here is an interview with Laura Arrington about my experience as a performer: http://soundcloud.com/battlewithglamor/interview

April 24, 2011
Dancers are simultaneously beautiful and grotesque, powerful and fragile. Give up the ghost…We (performers and dancers) can create healthy working relationships with directors, companies, organizations only if we embody how much of an asset we are to them. Not why we need them, rather what we can bring to them. Let freedom ring…Personal success does not have to be measured through what gigs we get or who wants to work with us or who will employ us.  Confidence is sexy. So is humility.                                                   

Dancers are simultaneously beautiful and grotesque, powerful and fragile.

Give up the ghost…We (performers and dancers) can create healthy working relationships with directors, companies, organizations only if we embody how much of an asset we are to them. Not why we need them, rather what we can bring to them.

Let freedom ring…Personal success does not have to be measured through what gigs we get or who wants to work with us or who will employ us. 

Confidence is sexy. So is humility.

                                                  

April 24, 2011 • 2 notes

Glamor Shots

Remember Glamor Shots?

Ah yes, now you do. You put on a denim jacket with silver studs and immerse yourself in front of the vanity mirror inhaling that familiar bring-you-back-to-the-early-90s smell of aerosal hairspray. After 4 hours of making over, you are ready for the photoshoot.

You give your photos to friends and family. The photo represents the ideal you…how you want to be seen by others…at the very least, how the Glamor Shots staff sees you. I mean shit, who wouldn’t want to sport a jacket made out of the American flag or clip on cubic zirconia earrings?

What if performers started to look at formal, produced shows as a faccade of glamor?

What if we cared less about who we work for?

What if we cared more about your personal experience within the spectacle? 

What if we used the transparency of our experience to our advantage? 

What if we valued personal impulse over obediance?

When I go to a live performance show as an audience member, what intrigues me most are the performers. Not the design of the piece, not the composition, not the music, the lights, the space, the theater, etc. It’s the way two people touch eachother, the way someones eyes glisten when they look out, the way they are sweating by the end of the piece.

There is no life to the performance without the people inside. The beauty of the show is the people who make it come alive.