Program Notes

Time for some opinions.  In my short career, I've heard some intense discussions on program notes.  These debates tend to take two forms, the first of which is just how much information to use.  It seems that the barebones requirements are title of dance, choreographer, dancers, and composer.  Of course if there are any additional credits due (props master, special lighting, etc.) it should be listed with the individual piece and all other technicians (light designer, artistic director, costume designer, tech crew, etc.) should also receive credit generally formatted in their own block of information.

The conflict arises in whether or not to describe the piece or present the audience with context for each piece.  It is my stance that no, you should not.  If there is a narrative, the piece should clearly represent that narrative.  If not, then the audience should be free to take from the piece exactly what they find while viewing it.  By explaining what the choreographer sees/feels/intends, you rob the audience of the chance to experience the work for themselves.  This then turns the experience into a comparison between what they are seeing and what they have read. 

My opinion differs (only slightly) in the performance of historically important repertoire.  In this case, I think it is important to include information regarding why the piece is historic, the climate surrounding its creation, and why it is being performed now.  Note that I did not say the piece itself should be explained, only facts about the piece.  The same logic can be applied to pieces rooted in historic fact, but again only minor contextual fact and not interpretation should be provided.

The second form of this debate comes from collaboration.  The scenario generally consists of a choreographer working with a musician, composer, set designer, actor, or another artistically inclined individual.  Many of these individuals come from arts which focus on conveying a specific point to the observer.  It may seem that if the audience does not 'get' exactly what was intended in the creation of the work, then the work has been a failure.  This is not the mindset in most modern dance.  There is room for interpretation and personal experience.  In the event that the collaborator is invited to work with the choreographer, then the choreographer has the final say in just what goes into the program.  It is an important discussion to have, but I again encourage the less-is-more technique.

On the other end is when a choreographer has been invited to work with another artist.  And this is my other exception.  Particularly when you (the choreographer) have been asked to create a work for an audience population that is unfamiliar with modern dance, it is prudent to include some form of program note.

Example:  I was once asked to choreograph a piece for an organ concert.  Beautiful music, in a beautiful hall, with a brilliant musician and fantastic dancers.  Keep in mind however that the audience would be attending an organ concert, with some dance, and many have a history in viewing music performance.  Some had never seen modern dance.  The musician asked for programs notes and I sat and considered for a while just what to do.  The route I chose was to explain the process the piece went through and the inspirations which guided my thoughts.  This gave those unfamiliar with modern dance a context in which to view the piece but did not drive them to a tunnel visioned idea of what I thought about the piece.  At least I hope that was the outcome.

 As usual, I would like to hear other thoughts on this topic.  One should remember that the most important message of this topic, is that you should take into account every piece of information the audience receives as though it were choreography in the piece and form your decision on the total experience you would like your audience to encounter.

Rehearsal Etiquette - Dancer (Part 1)

Personally it seems that etiquette has taken a back seat in recent years.  And just like everything else, different situations call for different standards and different etiquette protocols.  This will be the first entry in a series devoted to proper etiquette at different times within the life of a dancer.

This is an area where we can learn much from Victorian parenting - speak only when spoken to.  The dancers' input is extremely important to the process of many (if not most) choreographers.  But as dancers, we need to respect the choreographer's ideas and decisions.  If they are looking for input, they will clearly indicate as such.  The more you work with someone, the more you will be able to pick up on their non-verbal cues for input, but take it as a general rule to keep your ideas to yourself. 

NEVER practice phrases or pieces unrelated to that for which the rehearsal is called.  This tells the choreographer that you would rather be spending this time rehearsing for someone else's work and is extremely distracting.  If you have idle time while the choreographer works with someone else, work on difficult portions of the current piece, smooth out some partnering moments, get a quick drink of water, write down new choreography or notes you have received over the course of this rehearsal, stretch, etc.  That is also the order in which I would suggest such activities.  As long as you stay focused on the fact that you are there to rehearse for a specific piece, increase your skills as a performer, and create art, you should be fine.

When a movement does not 'work' (thinking particularly about partnering/weight-bearing), make sure to let your choreographer know what feels wrong but do not blatantly suggest that the movement is impossible.  Remember that the choreographer can see things that you cannot and you can feel things that the choreographer cannot.  It is terribly annoying when the choreographer comes to rehearsal with some spectacular idea that works in their mind and would like to find a way to make it work in reality but one or more of the dancers writes it off as imaginary right away and insists it cannot be done.  This not only affects group moral, but it hinders the growth of choreographer and dancer alike.  There is a point where you should cut your losses, but if you don't push the limits you won't grow (and possibly miss out on the opportunity to create a beautiful movement).

Rehearsals should be fun.  Many dancers that I've worked with enjoy kidding around and making jokes or puns off of something that was just said or a recent movement.  This can keep rehearsals fun and light-hearted IF done in moderation and NEVER hindering the productivity of the rehearsal.  Also, I would suggest making these quips loud enough for everyone to hear because it saves time (by not having to explain the joke when everyone else sees you laughing) and it prevents a misunderstanding (someone thinking the joke is about them in a negative connotation).  I find myself struggling with this more than most areas.  Generally, one should refer to the second paragraph of this post...until you've got a zinger that just has to come out.