It is with exitement that I watch the piece take form for the first time. I see what sections need more focusing and I now have a stronger sense for the high and low points of the piece or begining and end in
other words.

Benjamin Pope, conductor for Degenerator
The conductor, Benjamin Pope, is now in Stockholm and is following rehearsals. Now the final tempo for the music has to be set, a tempo that works with the dancing, and together we need to find places that can make the communication between the orchestra and the dancers easier.

Behnaz Aram working on a costume with a dancer for Degenerator
In the end of the week the first costume will be as good as ready, Behnaz Aram will come to see if it is all acording to her vision.
Three of the total six women will have grey dresses and the other three have greyish dresses with a pattern faintly visable underneath layers of grey cloth. It is like the memory of beauty now gone.
In the piece I am putting structure and chaotic patterns of movement against each other and Behnaz Aram has taken that with her into the costumes. Dresses that almost sufficate its wearer, or protects them from outside dangers.
This is the second time we collaborate and every time we discuss our ideas it is as if we can complete each other sentences.
I have choosen to illustrate the music with an abstract plot. At the same time I want to create a complet world for myself even if it will in the end be completely different to what any one else might expirience.
That is the strenght in working with such a poetic artform, as I see it: All interpetations are
right.
No comments:
Post a Comment