Ten Questions. Ten Answers. And One Big Decision: Rock, Paper, Or Scissors?
Production Company: Travail Rouge
Explores the interface between darkness and light, form and imagination; meditative stillness, then moving shapes, whispered words and the light catching only the ghost of a body as it flashes past. In darkness, spoken word creates and projects directly onto your imagination. Dancers are colour, beauty, touch, intimacy and solitude…
- Sat 3/01 @ 12:30PM
- Mon 3/03 @ 8:40PM
- Wed 3/05 @ 5:30PM
- Thur 3/06 @ 10:15PM
- Fri 3/07 @ 7:05PM
Answers by Yan Ferrer
1. Your tag line is out there on postcards and press releases so we know the PR version of what this play is about. But when you talk to your family and friends, how do you explain the show to them?
YF: You’re lying back at night after a full day. You close your eyes and images of the day are still flashing through your mind. You start to drift and you hear a voice whispering to you, just at the edge of consciousness. It’s describing a place you’ve imagined before, where you wanted to be. It’s just details at first, but then all of a sudden you’re in it.
2. Here’s a scenario: After the show some audience members go have a drink. What’s the part of the show you hope they’re discussing?
YF: How they forgot where they were, and now wonder where they went.
3. What drives your show – character, theme or plot?
4. In rehearsals, read-thrus, or prior incarnations, what’s the one thing someone said about the show so far that made you (or the team) the most proud?
YF: “For Body and Light has created an impressive repertoire of dance performance that does precisely what their name promises: Creative use of lamps as hand-held props, sharp lighting effects, minimal yet evocative onstage environments, and the beauty and power of a poet’s words give the company an exciting and vast field of dance performance possibility to work within.”
5. Let’s fantasize for a moment. Let’s take the “off-off” off. Imagine this show is on Broadway. Would that change the production itself?
YF: There are a couple of moments at the height of a hurricane where overwhelming water and sound would work well. Otherwise no, we’re fine as we are.
6. Taking that one step further – after paying everyone what they’re worth of course, what is the most lavish, luxurious, pointless thing you would spend money on if there was no constraints?
YF: Flood the stage in six inches of water and have the dancers move in that for the last act.
7. Is there a scene, a moment, a gesture … anything at all in the show that you anticipate may get a completely different reaction depending on the audience that night?
YF: I don’t know what changes from night to night as I live really deep inside it. I do know that each time it happens different things come to the fore. On one night a really intuitive performance from one dancer can color the whole show. They are all artists and while a unison piece may make them resemble each other, each brings a total vocabulary to what she does.
On another night what seems most important is the beauty of relationships, how one dancer moves with another.
Some nights I am blown away by light and how it colors a body in motion. On those nights the show seems really contemporary. At other times, when they gather around a light, they almost seem like participants in an ancient religious ritual.
8. What’s your favorite line from the show?
YF:This is the beach where you
Took off for an afternoon sail
And the wind kicked up and the rudder snapped
Now you’re 400 miles off course
Out in the tanker lanes scrambling for your life
9. Is the world of this play sustainable outside a theatre? In other words … do you think people live the way the characters do? Would you want a world where they do?
YF: People dream the way this show is made. It takes place in the interface between sleep and waking, fantasy and imagination and life. In the best part of the dream you are surrounded by five dancers so beautiful you can’t take your eyes off them; in the worst, they are all taken away from you.
10. You scan the audience and you see a face that stops you dead in your tracks – who is it? And why are you shocked?
Rock, Paper, Scissors Tournament of DEAAAAATH
In the THM virtual Rock, Paper, Scissors Tournament of DEAAAAATH which FRIGID Show do you take on? And what do you throw?
CHALLENGES: We take on Eating My Garbage.
THROWS: We wait and see what they throw then throw something to top it.
Well, EATING MY GARBAGE threw scissors, so that leaves you with ROCK! So, yes, technically you win THIS round but there may be more rounds to come — and let me just tell you, FOR BODY AND LIGHT you folks are beautiful, thoughtful, and SNEAKY!!! But your devious practices got you the win. THIS TIME.
Thanks For Body and Light for participating in The Happiest Medium’s FRIGID New York Festival 2014 Q&A. And for playing our game! You’re officially ROCK in any and all challenges. You may win, you may lose – who knows! This is how it works in the crazy world of the Rock, Paper, Scissors Tournament of DEAAAAATH!
For the rest of you don’t forget to check out For Body and Light !
Horse Trade Theater Group will present the 8th Annual FRIGID New York Festival at The Kraine Theater (85 East 4th Street between 2nd Avenue and Bowery) and UNDER St. Marks (94 St. Marks Place between 1st Avenue and Avenue A) February 19-March 9. Tickets are available for purchase in advance at www.FRIGIDnewyork.info or by calling 212-868-4444.