Here, on the eve of the premiere of 22, I can divide my experience
into perhaps three phases:
The first phase was my own and my collaborators’ identifying
what in fact we would be attempting to achieve in the work. For
me, to answer this question, I had to think what the new technology
bring to a real time solo performance that could not exist in any
other situation. When it was decided that my 1983 improvisational
talking dance, 21, would become the starting point, this was a
great relief and a clear challenge for me and all of the team.
second phase of discovery was in dealing with the question
of how my movements would be read by the computer. I was struck
complexity and the many hours of work necessary on the part of
my artistic and technical collaborators as they endeavored to “teach” the
computer to “read” my 22 simple shapes. This period
gave me a great insight into where the field of motion capture,
intelligence and live performance truly are at this point and
where they might be headed. I was humbled at the patience required
us all in leaving room for each other’s process and in
responding to the needs of each of our various disciplines.
final stage for me has been exhilarating and fraught with
predictable frustrations. We have had to deal with the harsh
have asserted themselves. While we have had to readjust our
expectations as to the degree of interactivity available, some very
resourceful solutions were discovered. This is always exciting
as one develops a new work!
I have been encouraged to see that certain conventional ideas from
theater have asserted themselves as we had looked for solutions to
the question of costume that must accommodate sensors, or the role
of theatrical lighting and décor in shaping the content of
the work and in supporting the technology’s needs.
I am full
of anticipation as we approach the world premiere of the work!