One of my favorite outings during the first iteration of this club was a private event: a work-in-progress showing of a new piece Annie-B Parson was creating for OtherShore, followed by a discussion with the artists that felt so much better than most of the formal post-performance talks out there (just the word “talkback” terrifies). Of course it’s great to attend finished productions (like Hamlet, which we’ll see next month). But encountering art as it’s being made can be really liberating. It shakes up the artist-audience relationship, and often allows for a more generous space for discussion: everything is still, at least theoretically, in motion and in question. Up for grabs.
So I was intrigued when the choreographer Tere O’Connor approached me about his latest project, a series of open rehearsals related to his upcoming premiere at New York Live Arts at the end of November, and asked if the P Club would be interested in attending one of these. Yes, we would! The rehearsals, which he and his collaborator Jenn Joy are calling “interrogations,” are “a focused space to ask questions of the work and the ways in which we approach and talk about dance. There will be a preview of the work in process followed by a conversation about the work driven by your questions and reflections of what you have seen.”
We have been invited to attend a rehearsal on Tuesday, October 16, from 4:15-6 at Gina Gibney Studio 3, 890 Broadway at 19th Street.
Seating is extremely limited for these sessions, and Tere asks that we not RSVP unless we are definitely planning to attend. RSVPs must be made to: Jenn at firstname.lastname@example.org.
For an idea about what sort of topics and themes we might discuss, please check out BLEED, the blog Tere and Jenn have launched. It includes working notes from the choreographer, and some of Jenn’s reflections. Here’s a bit more from Jenn:
“This work is the second in a series of four to be developed over the next two years that use choreography as a machine for raising questions–about temporality, about memory, about critique, about emotions, about illegibility, about possible exits from representation. This second work returns to Tere’s interest in crystalline formalism, artifice and complexity. From what I have seen thus far, the piece has totally evolved from dense fragments to an exquisitely layered and quite virtuosic work!”