WEBVTT

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NOTE recognizability:0.843

NOTE language:en-us

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Excuse me, what what are you doing?

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Ohh I'm worried I'm lamenting about

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the plague. I'm going for it.

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One of the trickier questions that I

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am often asked is what is performance

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or what is contemporary performance?

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How do you define that?

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How can you talk about what that is and it's?

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A seemingly straightforward question

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and maybe someone else could come

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up with a straightforward answer,

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but it always bedevils me,

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so I think it's really important to not think

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of contemporary performance as any one thing.

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Already if you say contemporary,

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if you say performance,

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we have all sorts of associations

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going off in our heads,

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and for some of us that's you know.

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So you think You Can Dance.

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For others of us that is, you know,

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concert dance coming out of you know

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a cage Cunningham Rushenberg Nexus.

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For others of us that is,

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you know what?

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You know the tradition of hip hop

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looks like when it grows from the

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Bronx to a global phenomenon so.

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It means a lot of different things

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to a lot of different people

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I think of. Performance,

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and in particular the. Sort of.

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Hybrid, often interdisciplinary,

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contemporary performance that

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I'm interested in. As a really.

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Exceptional invitation to ambiguity

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to not knowing to getting lost.

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And I think often I think often

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those things are frightening

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or alienating to people

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because we are pushed.

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So often, particularly as students were

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pushed to know to have the right answer,

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but also as critics.

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You know, it's the ideas that we are.

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We should we need to.

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Understand something.

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Become an expert in it and translate it.

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And that there is a right

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answer and a wrong answer, but.

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So many of these artists are saying no,

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they're there are just variations on.

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Maybe not even answers,

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but on questions and.

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The only job that a viewer has to

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do is be present. You know you

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get to the theater or you

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sit down at your computer.

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If you are watching the film of

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this and you've had a hectic day

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and your mind is racing and.

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You you've been in 15 different

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places and maybe you're still in

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those different places in your mind,

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and this work really asks you.

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It really just asked you

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to focus and to sit

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and to be fully present for it and.

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It's such an incredible

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honing of so many months and months of

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work to to get it to just the right place.

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But that just right place isn't.

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Isn't about some sort of.

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False perfection.

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It's also about all the little differences

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in how people do unison movements.

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All of the gradations.

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Of of form and structure and personality.

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One of an artists who I have always

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thought of in relationship to Beth Gill

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as the painter Agnes Martin and these.

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You know fine,

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fine fine lines and graduations and.

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Shifts, so in some ways

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it's this incredibly mean.

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You could say that is this

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incredibly narrow and specific.

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Set of materials that Martin is dealing

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with or that Gill is dealing with,

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but within those parameters within some

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often quite strict or severe parameters,

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it is so.

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Generous and expansive and free.

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Collaboration is one of those

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words that maybe all of these

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words are one of these words,

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but it it brings up very different

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models for different people. And.

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I think if if we're talking about how

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how a lot of dance artists are working

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in the studio today.

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Collaboration is a huge

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huge part of. Of that,

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I'd say one shift, one trend that I've

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definitely seen is a move towards.

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This you know, defining.

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What maybe people would have turned dancers?

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As collaborators like a shift to really

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see the people in the studio with the

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choreographer as collaborators and.

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A A sort of leveling of the hierarchy

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is that are assumed and in the

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relationship of choreographer to dancer.

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Which I know it's that's I'm sure

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that's been in the dance like

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that's not a necessarily new trend,

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but I feel like it's become more

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sort of ubiquitous like it's.

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It's not just.

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It's almost an assumed way of working.

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I've seen it almost become like an

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assumed way of working as opposed

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to like let's see what happens if

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we give the dancers more agency.

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A

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more traditional model would

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sort of posit the choreographer

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in a position of authority over

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the dancers, so there is this clear

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hierarchy, and the choreographer

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invents a language.

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And then the dancers are the

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interpreters of that language, so.

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I've even, you know, heard,

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heard the description of you

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know the choreographer choosing

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different dancers the way an artist

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chooses paint to put on the canvas.

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So I think that's that's obviously a.

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An. That's something that we find

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and should find problematic in.

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The 2000s and have a lot of questions about.

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After four years we made up and now

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continue from where we left off with

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the idea of no form and no style.

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And where and or how does one proceed

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from that impossibility? We all wonder.

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There is a budding language.

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But they are no longer angry.

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Not yet. I tell them that I'd like

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to see a 20 minute version of this,

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and now they just laugh.

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What I see is what I see what I want

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to see and why can't that be enough?

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One of the things that.

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Performance is really.

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Singularly situated to address it,

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you know it occurs on the body

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and the body is such a sight for.

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For debates for questioning for

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argumentation exploration around.

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So many issues, I mean issues of

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authenticity, issues of appropriation,

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issues of class gender. Sexuality race.

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So many questions get

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answered through the body.

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You know you can just think

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of a form like tap dance.

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You know that as soon as you're as

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soon as you're looking at at tap dance,

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you're also looking at questions of,

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you know grave racial inequity.

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You're also looking at.

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Cross cultural pollination.

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We're looking at issues

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of class so and gender.

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And and and I think I think

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that's what makes performance

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such an exciting field of study,

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a kind of sort of multiple kinds of

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things that are going on a kind of a,

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you know, a certain kind of a way,

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a return to a very corporeal body.

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I'm seeing that in a number of artists works

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that it has become the use of the body.

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The body is intelligence.

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Has become really at the foreground.

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I think of what how they're working

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with the body as opposed to a

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cut and cosmetic laying over of.

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You know historical vocabulary.

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My vocabulary that comes out

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of the cannon, right?

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And that art that dancers dancers

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learn that through training and then

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that is what they put out there.

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But as opposed to what?

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What I'm seeing now is more artists.

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Letting that go or not caring about it,

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there's still there.

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They still may very well be working

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with highly trained dancers,

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but but they're working with dancers

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who actually know how to let that

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training kind of go in some kind of way,

NOTE Confidence: 0.696082353333333

00:09:50.510 --> 00:09:53.310
and to allow the the body itself

NOTE Confidence: 0.696082353333333

00:09:53.310 --> 00:09:55.909
actually to kind of step forward.

NOTE Confidence: 0.906505158

00:10:03.840 --> 00:10:06.120
I remember starting one class.

NOTE Confidence: 0.906505158

00:10:06.120 --> 00:10:09.480
It was a semester long undergrad class that

NOTE Confidence: 0.906505158

00:10:09.480 --> 00:10:12.105
was just looking at contemporary performance

NOTE Confidence: 0.906505158

00:10:12.105 --> 00:10:15.830
and I started it off just by showing a

NOTE Confidence: 0.906505158

00:10:15.830 --> 00:10:18.668
video of a performance and and after that

NOTE Confidence: 0.906505158

00:10:18.668 --> 00:10:21.320
after it was over however long it was,

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00:10:21.320 --> 00:10:22.380
the students were like well,

NOTE Confidence: 0.906505158

00:10:22.380 --> 00:10:23.420
but that's not dance.

NOTE Confidence: 0.906505158

00:10:23.420 --> 00:10:24.460
That's what is that?

NOTE Confidence: 0.906505158

00:10:24.460 --> 00:10:26.316
That's I don't even know what that is,

NOTE Confidence: 0.906505158

00:10:26.320 --> 00:10:28.468
but it's not dance.

NOTE Confidence: 0.906505158

00:10:28.470 --> 00:10:32.398
And I think the students were responding to.

NOTE Confidence: 0.906505158

00:10:32.400 --> 00:10:36.280
A lack of a certain type of physicality,

NOTE Confidence: 0.906505158

00:10:36.280 --> 00:10:38.312
a lack of virtuosity,

NOTE Confidence: 0.906505158

00:10:38.312 --> 00:10:43.190
a lack of fully through the body, you know,

NOTE Confidence: 0.906505158

00:10:43.190 --> 00:10:46.190
through through the body movement.

NOTE Confidence: 0.906505158

00:10:46.190 --> 00:10:50.216
That there were no set steps.

NOTE Confidence: 0.906505158

00:10:50.220 --> 00:10:51.393
And of course,

NOTE Confidence: 0.906505158

00:10:51.393 --> 00:10:52.957
all of these things.

NOTE Confidence: 0.906505158

00:10:52.960 --> 00:10:55.648
There is plenty of dance and fantastic

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00:10:55.648 --> 00:10:58.359
dance that deals with great physicality

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00:10:58.359 --> 00:11:01.335
and traditional virtuosity and set steps.

NOTE Confidence: 0.906505158

00:11:01.340 --> 00:11:05.337
But there is also for decades now,

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00:11:05.340 --> 00:11:07.236
been a proliferation and a great

NOTE Confidence: 0.906505158

00:11:07.236 --> 00:11:09.440
tradition of dance that is really looking

NOTE Confidence: 0.906505158

00:11:09.440 --> 00:11:11.491
at all of those things and saying,

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00:11:11.500 --> 00:11:12.460
well, what?

NOTE Confidence: 0.906505158

00:11:12.460 --> 00:11:14.380
What does virtuosity mean,

NOTE Confidence: 0.906505158

00:11:14.380 --> 00:11:16.900
and does virtuosity just have to

NOTE Confidence: 0.906505158

00:11:16.900 --> 00:11:20.109
be the fact that I can do however

NOTE Confidence: 0.906505158

00:11:20.109 --> 00:11:21.403
many you know pirouettes,

NOTE Confidence: 0.906505158

00:11:21.403 --> 00:11:23.991
does it mean that I can jump a

NOTE Confidence: 0.906505158

00:11:23.991 --> 00:11:26.014
certain height or could virtuosity

NOTE Confidence: 0.906505158

00:11:26.014 --> 00:11:28.702
also be a quality of attention?

NOTE Confidence: 0.906505158

00:11:28.710 --> 00:11:32.226
Could it be a quality of?

NOTE Confidence: 0.906505158

00:11:32.230 --> 00:11:36.470
Incredibly delicate and subtle movements,

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00:11:36.470 --> 00:11:38.084
or what happens if I'm not

NOTE Confidence: 0.906505158

00:11:38.084 --> 00:11:39.420
dealing with virtuosity at all?

NOTE Confidence: 0.906505158

00:11:39.420 --> 00:11:42.145
What if my investigation actually

NOTE Confidence: 0.906505158

00:11:42.145 --> 00:11:44.325
is into pedestrian movement?

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00:11:44.330 --> 00:11:49.196
You know, Steve Paxton and the.

NOTE Confidence: 0.906505158

00:11:49.200 --> 00:11:52.360
In mid Century American questioning

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00:11:52.360 --> 00:11:57.700
of so many different forms and and.

NOTE Confidence: 0.906505158

00:11:57.700 --> 00:11:58.940
Cultures just saying well

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00:11:58.940 --> 00:12:00.800
what is it just to walk?

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00:12:00.800 --> 00:12:01.916
What is it just to stand?

NOTE Confidence: 0.906505158

00:12:01.920 --> 00:12:05.026
Why can't these things also be investigations

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00:12:05.026 --> 00:12:08.284
that a choreographer would engage in?

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00:12:08.290 --> 00:12:10.732
Maybe they're at the heart of

NOTE Confidence: 0.906505158

00:12:10.732 --> 00:12:12.650
what a choreographer engages in.

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00:12:12.650 --> 00:12:17.690
And so I think that that ground of.

NOTE Confidence: 0.906505158

00:12:17.690 --> 00:12:20.228
Investigation is so rich and important

NOTE Confidence: 0.906505158

00:12:20.228 --> 00:12:22.810
and it's very easy to sort of.

NOTE Confidence: 0.906505158

00:12:22.810 --> 00:12:25.930
Go straight to a more extreme,

NOTE Confidence: 0.906505158

00:12:25.930 --> 00:12:27.172
a flashier physicality,

NOTE Confidence: 0.906505158

00:12:27.172 --> 00:12:29.656
but in fact often the most

NOTE Confidence: 0.906505158

00:12:29.656 --> 00:12:31.429
interesting things are happening

NOTE Confidence: 0.906505158

00:12:31.429 --> 00:12:33.798
in these quieter moments or these

NOTE Confidence: 0.906505158

00:12:33.798 --> 00:12:36.066
moments when an artist is making a

NOTE Confidence: 0.906505158

00:12:36.066 --> 00:12:38.487
very political choice to say right.

NOTE Confidence: 0.906505158

00:12:38.490 --> 00:12:38.808
OK,

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00:12:38.808 --> 00:12:40.716
I know that your expectation is

NOTE Confidence: 0.906505158

00:12:40.716 --> 00:12:43.068
that a dancer will have a perfect

NOTE Confidence: 0.906505158

00:12:43.068 --> 00:12:44.728
physique and will be this,

NOTE Confidence: 0.906505158

00:12:44.730 --> 00:12:47.229
you know, heroic.

NOTE Confidence: 0.906505158

00:12:47.230 --> 00:12:49.658
Cisgender heterosexual you know

NOTE Confidence: 0.906505158

00:12:49.658 --> 00:12:52.693
Adonis like vision but actually

NOTE Confidence: 0.906505158

00:12:52.693 --> 00:12:55.557
that's not the world we live in.

NOTE Confidence: 0.906505158

00:12:55.560 --> 00:12:59.748
That's that's one very.

NOTE Confidence: 0.906505158

00:12:59.750 --> 00:13:03.098
Old and maybe not so interesting.

NOTE Confidence: 0.906505158

00:13:03.100 --> 00:13:03.480
Ideal,

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00:13:03.480 --> 00:13:04.620
you know what?

NOTE Confidence: 0.906505158

00:13:04.620 --> 00:13:08.033
What if we look at all of these

NOTE Confidence: 0.906505158

00:13:08.033 --> 00:13:10.628
other ranges of human experience?

NOTE Confidence: 0.906505158

00:13:10.630 --> 00:13:11.658
And spend some time.

NOTE Confidence: 0.906505158

00:13:11.658 --> 00:13:13.200
Spend some time in other places

NOTE Confidence: 0.906505158

00:13:13.257 --> 00:13:13.998
in other rooms.

NOTE Confidence: 0.91357468625

00:13:26.410 --> 00:13:29.610
It's interesting in terms of

NOTE Confidence: 0.91357468625

00:13:29.610 --> 00:13:33.099
our talking about this idea of

NOTE Confidence: 0.91357468625

00:13:33.099 --> 00:13:35.400
archives and documentation that.

NOTE Confidence: 0.901244532222222

00:13:37.420 --> 00:13:41.466
The way that I'm also seeing artists

NOTE Confidence: 0.901244532222222

00:13:41.466 --> 00:13:45.996
work now. Or some of them work now?

NOTE Confidence: 0.901244532222222

00:13:46.000 --> 00:13:49.152
Because of this idea about the primacy of

NOTE Confidence: 0.901244532222222

00:13:49.152 --> 00:13:53.240
the of the body that a straight forward

NOTE Confidence: 0.901244532222222

00:13:53.240 --> 00:13:57.080
wide angle stationary kind of camera

NOTE Confidence: 0.901244532222222

00:13:57.195 --> 00:14:01.680
documentation actually doesn't make sense.

NOTE Confidence: 0.901244532222222

00:14:01.680 --> 00:14:05.055
In a way that it might have made sense

NOTE Confidence: 0.901244532222222

00:14:05.055 --> 00:14:08.045
with the kind of you know company,

NOTE Confidence: 0.901244532222222

00:14:08.050 --> 00:14:12.322
company work that is that comes out of

NOTE Confidence: 0.901244532222222

00:14:12.322 --> 00:14:15.920
the cannon because because again that is

NOTE Confidence: 0.901244532222222

00:14:15.920 --> 00:14:19.251
and I'm not denigrating it, that at all.

NOTE Confidence: 0.901244532222222

00:14:19.251 --> 00:14:20.586
I think it's there's very

NOTE Confidence: 0.901244532222222

00:14:20.586 --> 00:14:21.650
important history with that.

NOTE Confidence: 0.901244532222222

00:14:21.650 --> 00:14:23.468
And I love just personally I

NOTE Confidence: 0.901244532222222

00:14:23.468 --> 00:14:25.610
love some of that a great deal.

NOTE Confidence: 0.901244532222222

00:14:25.610 --> 00:14:28.710
But now it seems like the the that

NOTE Confidence: 0.901244532222222

00:14:28.710 --> 00:14:30.376
there is no way to actually really

NOTE Confidence: 0.901244532222222

00:14:30.376 --> 00:14:31.810
capture that you can't capture.

NOTE Confidence: 0.901244532222222

00:14:31.810 --> 00:14:32.590
I mean, everybody

NOTE Confidence: 0.838150938222222

00:14:32.600 --> 00:14:34.320
knows you can't capture the

NOTE Confidence: 0.838150938222222

00:14:34.320 --> 00:14:35.696
the actual performance anyway,

NOTE Confidence: 0.838150938222222

00:14:35.700 --> 00:14:36.876
and on it we do the best

NOTE Confidence: 0.838150938222222

00:14:36.876 --> 00:14:38.090
we can with documentation,

NOTE Confidence: 0.838150938222222

00:14:38.090 --> 00:14:41.310
but I think it's closer to replicating

NOTE Confidence: 0.838150938222222

00:14:41.310 --> 00:14:45.146
sitting in an audience and sort of

NOTE Confidence: 0.838150938222222

00:14:45.146 --> 00:14:47.353
passively observing you know, time,

NOTE Confidence: 0.838150938222222

00:14:47.353 --> 00:14:49.399
space, movement within a particular kind

NOTE Confidence: 0.838150938222222

00:14:49.399 --> 00:14:51.965
of an architecture or within a you know,

NOTE Confidence: 0.838150938222222

00:14:51.965 --> 00:14:54.140
a proscenium frame, whereas artists

NOTE Confidence: 0.838150938222222

00:14:54.140 --> 00:14:57.030
are kind of pulling away from that.

NOTE Confidence: 0.838150938222222

00:14:57.030 --> 00:14:58.876
I wasn't around when Nancy first made

NOTE Confidence: 0.838150938222222

00:14:58.876 --> 00:15:02.680
the decision to make sort of make.

NOTE Confidence: 0.838150938222222

00:15:02.680 --> 00:15:03.440
Supplemental

NOTE Confidence: 0.858864601666667

00:15:03.510 --> 00:15:09.790
material or or share media that sort of. Gave

NOTE Confidence: 0.860784596666667

00:15:09.790 --> 00:15:12.203
a window into the choreographic process,

NOTE Confidence: 0.860784596666667

00:15:12.203 --> 00:15:15.970
but I think the intention behind it was help

NOTE Confidence: 0.763288606

00:15:15.980 --> 00:15:19.600
people understand the value of what went on,

NOTE Confidence: 0.763288606

00:15:19.600 --> 00:15:21.040
what goes on at a residency,

NOTE Confidence: 0.763288606

00:15:21.040 --> 00:15:24.613
or what goes on in the process that that.

NOTE Confidence: 0.763288606

00:15:24.620 --> 00:15:28.428
Is is happening to make a work and.

NOTE Confidence: 0.763288606

00:15:28.430 --> 00:15:33.094
You know, I think the idea was to.

NOTE Confidence: 0.763288606

00:15:33.100 --> 00:15:36.154
Show that there is something beyond

NOTE Confidence: 0.763288606

00:15:36.154 --> 00:15:39.139
just the finished piece that like.

NOTE Confidence: 0.763288606

00:15:39.140 --> 00:15:41.135
Yeah again to give a give people

NOTE Confidence: 0.763288606

00:15:41.135 --> 00:15:42.860
a window into that process.

NOTE Confidence: 0.763288606

00:15:42.860 --> 00:15:44.415
Carla and I talked about

NOTE Confidence: 0.763288606

00:15:44.415 --> 00:15:46.190
that a lot and and like,

NOTE Confidence: 0.763288606

00:15:46.190 --> 00:15:48.680
how much do you sort of play into that?

NOTE Confidence: 0.763288606

00:15:48.680 --> 00:15:52.748
The expectations of like web media.

NOTE Confidence: 0.763288606

00:15:52.750 --> 00:15:54.079
Viewing and the.

NOTE Confidence: 0.763288606

00:15:54.079 --> 00:15:57.654
The way the constraints of that world and

NOTE Confidence: 0.763288606

00:15:57.654 --> 00:16:00.790
how much do you push back against that?

NOTE Confidence: 0.763288606

00:16:00.790 --> 00:16:03.058
It's all mediated, so it's all decisions

NOTE Confidence: 0.763288606

00:16:03.058 --> 00:16:05.630
of like OK staying wide and static.

NOTE Confidence: 0.763288606

00:16:05.630 --> 00:16:08.870
Back to my like sort of default like

NOTE Confidence: 0.763288606

00:16:08.870 --> 00:16:11.637
objective example is like still a decision,

NOTE Confidence: 0.763288606

00:16:11.640 --> 00:16:13.264
and it's not necessarily like the truth.

NOTE Confidence: 0.763288606

00:16:13.270 --> 00:16:16.190
It's still a mediated decision.

NOTE Confidence: 0.763288606

00:16:16.190 --> 00:16:19.268
But but yeah, I guess I always

NOTE Confidence: 0.763288606

00:16:19.268 --> 00:16:20.669
think about that balance of like.

NOTE Confidence: 0.763288606

00:16:20.670 --> 00:16:22.716
OK, the other extreme of like.

NOTE Confidence: 0.763288606

00:16:22.720 --> 00:16:24.736
You know the sweat coming out of the pores.

NOTE Confidence: 0.763288606

00:16:24.740 --> 00:16:28.046
If it was all like hyper.

NOTE Confidence: 0.763288606

00:16:28.050 --> 00:16:33.336
Close fast cuts like to me, that is,

NOTE Confidence: 0.763288606

00:16:33.336 --> 00:16:34.668
you know, maybe arbitrarily,

NOTE Confidence: 0.763288606

00:16:34.670 --> 00:16:36.878
but just sort of like the

NOTE Confidence: 0.763288606

00:16:36.878 --> 00:16:38.350
other extreme of mediation.

NOTE Confidence: 0.763288606

00:16:38.350 --> 00:16:40.618
The more time I spent in the

NOTE Confidence: 0.763288606

00:16:40.618 --> 00:16:42.536
studio with working artists,

NOTE Confidence: 0.763288606

00:16:42.536 --> 00:16:43.482
performers,

NOTE Confidence: 0.763288606

00:16:43.482 --> 00:16:44.428
choreographers.

NOTE Confidence: 0.741362175

00:16:46.590 --> 00:16:48.730
The more I really I

NOTE Confidence: 0.741362175

00:16:48.730 --> 00:16:50.870
experience the the sort of.

NOTE Confidence: 0.741362175

00:16:50.870 --> 00:16:54.132
Rigorous work that is done in the

NOTE Confidence: 0.741362175

00:16:54.132 --> 00:16:56.659
studio as practicing artists and.

NOTE Confidence: 0.741362175

00:16:56.660 --> 00:16:59.000
And the the research which is,

NOTE Confidence: 0.741362175

00:16:59.000 --> 00:17:00.968
you know, a word that we're we use

NOTE Confidence: 0.741362175

00:17:00.968 --> 00:17:03.196
at mancy and and are trying to make

NOTE Confidence: 0.741362175

00:17:03.196 --> 00:17:05.986
an effort to identify with you,

NOTE Confidence: 0.741362175

00:17:05.986 --> 00:17:08.422
know art making and and performance

NOTE Confidence: 0.741362175

00:17:08.422 --> 00:17:10.698
work has shifted my thinking around

NOTE Confidence: 0.741362175

00:17:10.698 --> 00:17:13.350
that to sort of see that as the.

NOTE Confidence: 0.741362175

00:17:13.350 --> 00:17:14.950
As the thing itself,

NOTE Confidence: 0.741362175

00:17:14.950 --> 00:17:16.950
the investigations in the studio,

NOTE Confidence: 0.741362175

00:17:16.950 --> 00:17:20.280
the process as the the really

NOTE Confidence: 0.741362175

00:17:20.280 --> 00:17:23.550
valuable work that is evidenced as a

NOTE Confidence: 0.741362175

00:17:23.550 --> 00:17:26.581
sort of artifact in the the shared.

NOTE Confidence: 0.741362175

00:17:26.581 --> 00:17:28.054
Piece on stage.

NOTE Confidence: 0.741362175

00:17:28.054 --> 00:17:31.850
Watching dance is an experience at its base.

NOTE Confidence: 0.741362175

00:17:31.850 --> 00:17:35.056
It's not like it's not strictly like

NOTE Confidence: 0.741362175

00:17:35.056 --> 00:17:36.964
a linguistic communication and and

NOTE Confidence: 0.741362175

00:17:36.964 --> 00:17:39.260
so there is something outside of just

NOTE Confidence: 0.741362175

00:17:39.319 --> 00:17:41.489
like creating meaning through language.

NOTE Confidence: 0.741362175

00:17:41.490 --> 00:17:43.430
And I guess I.

NOTE Confidence: 0.741362175

00:17:43.430 --> 00:17:46.532
Would hope that this further mediation

NOTE Confidence: 0.741362175

00:17:46.532 --> 00:17:49.989
of a visual media like can have.

NOTE Confidence: 0.741362175

00:17:49.990 --> 00:17:51.950
Can be open-ended enough

NOTE Confidence: 0.741362175

00:17:51.950 --> 00:17:53.910
to like communicate things.

NOTE Confidence: 0.741362175

00:17:53.910 --> 00:17:54.664
Outside of,

NOTE Confidence: 0.741362175

00:17:54.664 --> 00:17:56.172
just like having somebody

NOTE Confidence: 0.741362175

00:17:56.172 --> 00:17:57.303
explain it verbally,

NOTE Confidence: 0.741362175

00:17:57.310 --> 00:17:59.910
but you're like gathering

NOTE Confidence: 0.741362175

00:17:59.910 --> 00:18:01.210
gathering information.

NOTE Confidence: 0.825604671111111

00:18:04.270 --> 00:18:06.755
In the same way that you would

NOTE Confidence: 0.825604671111111

00:18:06.755 --> 00:18:09.510
experience the thing in its live.

NOTE Confidence: 0.1529037

00:18:11.980 --> 00:18:12.470
Incarnation.

NOTE Confidence: 0.903004

00:18:19.050 --> 00:18:21.080
Maybe because dance

NOTE Confidence: 0.878062467692308

00:18:22.210 --> 00:18:24.828
happens on the body because that's you

NOTE Confidence: 0.878062467692308

00:18:24.828 --> 00:18:27.829
know one of its essential materials.

NOTE Confidence: 0.878062467692308

00:18:27.830 --> 00:18:29.774
Maybe because of that it it

NOTE Confidence: 0.878062467692308

00:18:29.774 --> 00:18:31.880
almost is a form that that.

NOTE Confidence: 0.823409078888889

00:18:35.000 --> 00:18:37.790
Serves as a sort of

NOTE Confidence: 0.823409078888889

00:18:37.790 --> 00:18:40.022
Rorschach test for different.

NOTE Confidence: 0.823409078888889

00:18:40.030 --> 00:18:42.990
For, for each individual viewer

NOTE Confidence: 0.823409078888889

00:18:42.990 --> 00:18:45.588
you know there's so many different

NOTE Confidence: 0.823409078888889

00:18:45.588 --> 00:18:46.887
collaborations and conversations

NOTE Confidence: 0.823409078888889

00:18:46.887 --> 00:18:48.688
going on in any performance.

NOTE Confidence: 0.823409078888889

00:18:48.690 --> 00:18:52.170
There is the you know there is what

NOTE Confidence: 0.823409078888889

00:18:52.170 --> 00:18:55.670
the maker of the dance is doing,

NOTE Confidence: 0.823409078888889

00:18:55.670 --> 00:18:56.594
the choreographer,

NOTE Confidence: 0.823409078888889

00:18:56.594 --> 00:18:59.366
what what she's trying to say,

NOTE Confidence: 0.823409078888889

00:18:59.370 --> 00:19:01.379
and then of course there are what

NOTE Confidence: 0.823409078888889

00:19:01.379 --> 00:19:03.129
the performers and maybe you know,

NOTE Confidence: 0.823409078888889

00:19:03.130 --> 00:19:04.828
the maker is also a performer,

NOTE Confidence: 0.823409078888889

00:19:04.830 --> 00:19:06.468
and that's always sort of interesting.

NOTE Confidence: 0.823409078888889

00:19:06.470 --> 00:19:09.295
There can sometimes be dissonance between.

NOTE Confidence: 0.823409078888889

00:19:09.295 --> 00:19:11.620
The artist says maker and

NOTE Confidence: 0.823409078888889

00:19:11.620 --> 00:19:13.480
the artist as performer.

NOTE Confidence: 0.823409078888889

00:19:13.480 --> 00:19:15.076
But you know there there is a

NOTE Confidence: 0.823409078888889

00:19:15.076 --> 00:19:16.518
conversation and a back and forth.

NOTE Confidence: 0.823409078888889

00:19:16.520 --> 00:19:19.896
Sometimes attention a subversion

NOTE Confidence: 0.823409078888889

00:19:19.896 --> 00:19:22.428
between what the?

NOTE Confidence: 0.823409078888889

00:19:22.430 --> 00:19:24.858
Choreographers saying and what

NOTE Confidence: 0.823409078888889

00:19:24.858 --> 00:19:27.286
the performers are saying.

NOTE Confidence: 0.823409078888889

00:19:27.290 --> 00:19:29.898
But then of course there is also the

NOTE Confidence: 0.823409078888889

00:19:29.898 --> 00:19:30.934
collaborative relationship between

NOTE Confidence: 0.823409078888889

00:19:30.934 --> 00:19:34.583
the Watcher and the the doers so you

NOTE Confidence: 0.823409078888889

00:19:34.583 --> 00:19:37.754
know I will bring to any performance,

NOTE Confidence: 0.823409078888889

00:19:37.760 --> 00:19:39.510
you know.

NOTE Confidence: 0.823409078888889

00:19:39.510 --> 00:19:44.106
15 years of very closely watching

NOTE Confidence: 0.823409078888889

00:19:44.110 --> 00:19:45.338
performance and you know,

NOTE Confidence: 0.823409078888889

00:19:45.338 --> 00:19:47.587
but coming into it at a very

NOTE Confidence: 0.823409078888889

00:19:47.587 --> 00:19:49.307
particular time in New York,

NOTE Confidence: 0.823409078888889

00:19:49.310 --> 00:19:51.420
and so having you know,

NOTE Confidence: 0.823409078888889

00:19:51.420 --> 00:19:55.390
having my lens be be filtered through that,

NOTE Confidence: 0.823409078888889

00:19:55.390 --> 00:19:59.320
you know, whereas somebody who is you know,

NOTE Confidence: 0.823409078888889

00:19:59.320 --> 00:20:01.045
an architect will see something

NOTE Confidence: 0.823409078888889

00:20:01.045 --> 00:20:02.782
compositionally, entirely differently.

NOTE Confidence: 0.823409078888889

00:20:02.782 --> 00:20:06.994
Perhaps you know, or a basketball player,

NOTE Confidence: 0.823409078888889

00:20:06.994 --> 00:20:08.915
or a neurosurgeon, it's.

NOTE Confidence: 0.823409078888889

00:20:08.915 --> 00:20:11.190
I find it to be a very.

NOTE Confidence: 0.8682389

00:20:13.810 --> 00:20:17.129
Porous form in that way, I think it's

NOTE Confidence: 0.8682389

00:20:17.129 --> 00:20:19.290
one of the reasons I'm I'm sort of.

NOTE Confidence: 0.8682389

00:20:19.290 --> 00:20:21.066
I'm often flummoxed when people say,

NOTE Confidence: 0.8682389

00:20:21.070 --> 00:20:21.930
well, I just don't.

NOTE Confidence: 0.8682389

00:20:21.930 --> 00:20:23.642
I don't get dancer, I don't understand

NOTE Confidence: 0.8682389

00:20:23.642 --> 00:20:25.984
it because it seems like there are so

NOTE Confidence: 0.8682389

00:20:25.984 --> 00:20:28.086
many different ways to look at it.

NOTE Confidence: 0.8682389

00:20:28.086 --> 00:20:30.440
There's no one way to come at it.

NOTE Confidence: 0.8682389

00:20:30.440 --> 00:20:33.038
You know, there we all have

NOTE Confidence: 0.8682389

00:20:33.038 --> 00:20:34.770
different bodies of expertise,

NOTE Confidence: 0.8682389

00:20:34.770 --> 00:20:36.555
and I think the only the only

NOTE Confidence: 0.8682389

00:20:36.555 --> 00:20:38.490
thing to avoid doing is to front

NOTE Confidence: 0.8682389

00:20:38.490 --> 00:20:40.158
that you have a certain amount

NOTE Confidence: 0.8682389

00:20:40.218 --> 00:20:42.126
of knowledge that you don't have.

NOTE Confidence: 0.817529078

00:20:44.220 --> 00:20:47.034
Or to you know, try to say

NOTE Confidence: 0.817529078

00:20:47.034 --> 00:20:49.560
something more than you're seeing.

NOTE Confidence: 0.817529078

00:20:49.560 --> 00:20:53.456
I think as long as you're being honest

NOTE Confidence: 0.817529078

00:20:53.456 --> 00:20:56.578
and present in front of the work.

NOTE Confidence: 0.817529078

00:20:56.580 --> 00:20:58.250
There are no wrong answers.

NOTE Confidence: 0.817529078

00:20:58.250 --> 00:20:59.460
There are just different answers.