The first-ever documentary film celebrating the world famous Les Ballets…
In the Steps of Trisha Brown
![In the Steps of Trisha Brown In the Steps of Trisha Brown](http://misc.docuseek2.com/images/titles/icarus/if-trisha_809.jpg)
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- Reviews
- Citation
- Cataloging
- Transcript
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A unique figure in the history of contemporary dance, Trisha Brown has inflected its course in crucial ways. Her choices involve letting a certain chaos come inside with grace tied to imbalance and fluency prevailing over choreographic discipline. One of her most representative works, Glacial Decoy, an 18-minute piece created in 1979 with props and costumes by Robert Rauschenberg, has just been included in the Ballet de l'Opera (Paris) repertoire.
Marie-Helene Rebois, one so familiar with the world of dance to be remembered for her emotionally stirring RIBATZ, RIBATZ OU LE GRAIN DU TEMPS, devoted to re-discovering a work by Dominique Bagouet (winner of the FID2003 French Competition) shares this precious moment with us by showing dancers Lisa Kraus and Carolyn Lucas as they pass on their knowledge to those who will be performing this memorable work on Parisian stages. Both women's experience, their intimate knowledge of Trisha Brown's work, not to mention its difficulties and the deeply joyful energy it exudes (who could erase those big smiles from their faces?), transfigure this moment of sharing into a lesson for us. Filmed in such a way as to give the feeling that one single session was just run before our eyes, it is wonderful for us to see, as well as understand, everything at once through the intertwining of every step as it produces such a sharp image of our own bodies.
'[Lisa] Kraus, with fellow teacher Carolyn Lucas, is a disciple of Brown's school of dance, and her centrality to Rebois's film gives it its infectious, unpretentious, accessible likeability. Telling her students just how important paradoxical notions of balance were to Brown's concept of [removed]turning the back leg one way, swaying the arms another), Kraus communicates in an easygoing manner. Rebois matches her methods with an observational eye that is equally unpretentious, allowing the repeated rhythms of the dancers' movements to reveal themselves in long, uninterrupted sequences shot from the corner of the room.' - Michael Pattison, British Film Institute (BFI)
Citation
Main credits
Rebois, Marie-Hélène (film director)
Charvet, Olivier (film producer)
Germain, Sophie (film producer)
Brown, Trisha (onscreen participant)
Kraus, Lisa (onscreen participant)
Lucas, Carolyn (onscreen participant)
Other credits
Image, Hélène Louvart, Laurent Coltelloni; montage, Jocelyne Ruiz.
Distributor subjects
American Studies; Art; Cultural Studies; Culture; Dance; Education; French; History; Women's StudiesKeywords
WEBVTT
00:00:51.680 --> 00:00:54.480
Today is about weight.
00:00:59.840 --> 00:01:00.800
(sighing)
00:01:00.800 --> 00:01:02.400
Take a deep breath.
00:01:02.400 --> 00:01:04.200
(inhaling)
00:01:04.200 --> 00:01:06.000
(exhaling)
00:01:07.480 --> 00:01:09.560
And again.
00:01:11.840 --> 00:01:13.240
And now, still on one spot,
00:01:13.240 --> 00:01:15.800
let\'s let it change
into something
00:01:15.800 --> 00:01:18.560
a little more like a walk.
00:01:28.160 --> 00:01:30.480
Are you breathing?
00:01:33.960 --> 00:01:37.200
We\'re going to keep going.
00:01:38.200 --> 00:01:40.200
Easy head.
00:01:41.280 --> 00:01:43.800
Easy shoulders.
00:01:46.400 --> 00:01:48.720
Easy spine.
00:01:52.080 --> 00:01:53.520
Not too fast.
00:01:53.520 --> 00:01:56.560
Not too fast,
because you want to keep
00:01:56.560 --> 00:01:59.360
the feeling of the weight
00:01:59.360 --> 00:02:01.800
bouncing.
00:02:05.600 --> 00:02:07.280
A-ha!
00:02:21.960 --> 00:02:24.960
I don\'t know
what I want to say.
00:02:24.960 --> 00:02:27.400
That there\'s--
00:02:27.400 --> 00:02:29.280
things change a little.
00:02:29.280 --> 00:02:31.000
Just that.
00:02:48.920 --> 00:02:51.960
B:
00:02:51.960 --> 00:02:53.720
Corky
00:02:53.720 --> 00:02:56.320
met me at the airport...
00:02:59.320 --> 00:03:02.440
...and on the way into town...
00:03:02.440 --> 00:03:04.400
A:
00:03:04.400 --> 00:03:06.560
asked me
00:03:06.560 --> 00:03:10.320
if I would accept
00:03:10.320 --> 00:03:12.360
that B:
00:03:12.360 --> 00:03:15.520
forewarned me I might not...
00:03:15.520 --> 00:03:18.360
A:
00:03:18.360 --> 00:03:20.760
the distinguished alumnus award
00:03:20.760 --> 00:03:23.520
at my high school.
00:03:23.520 --> 00:03:25.200
B:
00:03:25.200 --> 00:03:28.280
an audience at my lecture.
00:03:41.400 --> 00:03:42.960
And...
00:03:50.080 --> 00:03:51.600
(slapping hands)
00:03:51.600 --> 00:03:52.600
Yeah!
00:03:52.600 --> 00:03:55.680
-Is that better?
-Much.
00:04:04.000 --> 00:04:07.200
So there\'s a proximity
question with that.
00:04:07.200 --> 00:04:07.840
Like, is this--
00:04:07.840 --> 00:04:10.400
\'Cause I feel like
I should be upstaging you.
00:04:10.400 --> 00:04:13.160
I don\'t know,
but is this, like,
00:04:13.160 --> 00:04:16.920
like, hands
sort of meeting thing.
00:04:16.920 --> 00:04:17.600
Yeah, yeah.
00:04:17.600 --> 00:04:21.720
So I probably need
to come up more.
00:04:21.720 --> 00:04:23.760
-There\'s something I want--
-But it--
00:04:23.760 --> 00:04:25.720
it gets set up
like where we are,
00:04:25.720 --> 00:04:28.160
right at this one
when we start the second one.
00:04:28.160 --> 00:04:31.560
Right, but actually,
it comes from down here.
00:04:31.560 --> 00:04:33.720
-Mm-hm.
-I slap,
00:04:33.720 --> 00:04:35.600
and then I\'m just...
00:04:35.600 --> 00:04:39.880
I need to get up higher
from the start.
00:04:39.880 --> 00:04:42.160
Okay, cool.
00:04:43.040 --> 00:04:43.840
Should we try it again?
00:04:43.840 --> 00:04:46.920
Yeah, there was one other thing
that wasn\'t clear.
00:04:46.920 --> 00:04:47.760
Oh, yeah.
00:04:47.760 --> 00:04:50.160
What wasn\'t clear?
00:04:54.240 --> 00:04:58.400
Can you keep running it though?
I want to see something.
00:05:00.120 --> 00:05:01.840
So I veer off,
00:05:01.840 --> 00:05:05.240
and to you,
shoulder to shoulder...
00:05:05.240 --> 00:05:09.000
and then she jumps,
and...and then you jump.
00:05:09.000 --> 00:05:10.400
I might\'ve been
a little late
00:05:10.400 --> 00:05:14.640
because I was pulling up
my pants in that run.
00:05:14.640 --> 00:05:15.600
Oh!
00:05:15.600 --> 00:05:17.920
So, I might\'ve been slow!
00:05:17.920 --> 00:05:19.400
Cool. Alrighty.
There you have it.
00:05:19.400 --> 00:05:23.760
We can look at it
in a performance.
00:05:23.760 --> 00:05:25.000
That\'s funny.
00:05:25.000 --> 00:05:27.360
Yeah, it\'s like you refer
to the timing
00:05:27.360 --> 00:05:29.600
when somebody
pulls up their pants
00:05:29.600 --> 00:05:32.320
and it changes everything.
00:05:32.320 --> 00:05:34.440
That\'s funny.
00:05:35.720 --> 00:05:40.840
Right, that is the beginning
of the quartet, right there.
00:05:48.680 --> 00:05:51.400
Then Trisha will come in.
00:05:57.400 --> 00:06:00.480
-Aw.
-Ms. Brown.
00:06:01.880 --> 00:06:06.200
Her upper body stuff is really
like nobody else, you know?
00:06:06.200 --> 00:06:11.440
Like, what\'s going on
with her shoulders.
00:06:11.440 --> 00:06:14.480
Quite her.
00:06:20.600 --> 00:06:22.440
When what was done?
00:06:22.440 --> 00:06:24.480
Here, Crosby Street.
00:06:24.480 --> 00:06:26.720
So that was a year
after its premiere?
00:06:26.720 --> 00:06:27.800
-Or \'79--
-No, it wasn\'t.
00:06:27.800 --> 00:06:32.280
-I don\'t think it was \'79.
-Yes, I think it\'s \'80.
00:06:32.280 --> 00:06:36.320
That\'s what all
the video boxes say.
00:06:36.320 --> 00:06:39.040
Crosby, 1980.
00:06:45.600 --> 00:06:48.160
(humming)
00:07:06.880 --> 00:07:09.400
So much more radical.
00:07:09.400 --> 00:07:11.160
You go, I go.
00:07:11.160 --> 00:07:13.600
Around the corner.
00:07:14.200 --> 00:07:16.720
Shoulder to shoulder.
00:07:16.720 --> 00:07:18.760
(indistinct)
00:07:18.760 --> 00:07:20.400
Okay.
00:07:23.880 --> 00:07:25.440
Hold.
00:07:25.720 --> 00:07:28.360
Okay, that\'s good, right?
00:07:28.360 --> 00:07:29.280
Mm-hm, yeah.
00:07:29.280 --> 00:07:31.000
Did it change a lot?
00:07:31.000 --> 00:07:31.800
No.
00:07:31.800 --> 00:07:33.320
But you do jump sooner.
00:07:33.320 --> 00:07:34.040
A little sooner.
00:07:34.040 --> 00:07:36.280
Yeah, and it even goes faster.
00:07:36.280 --> 00:07:37.400
So...
00:07:37.400 --> 00:07:39.040
Cool.
00:07:39.040 --> 00:07:41.640
I don\'t know how okay
I\'m gonna be.
00:07:41.640 --> 00:07:43.200
You wanna just take it slow?
00:07:43.200 --> 00:07:45.520
Yeah, let\'s go slow.
00:08:08.560 --> 00:08:11.360
Sorry, I was getting
a little too slow.
00:08:11.360 --> 00:08:13.400
No, you\'re good.
00:08:38.320 --> 00:08:40.920
-Kind of.
-I think we did it.
00:08:40.920 --> 00:08:42.960
-Not horrible.
-That wasn\'t bad.
00:08:42.960 --> 00:08:44.480
No, not at all.
00:08:44.760 --> 00:08:49.440
I think the last time
I danced \"Glacial Decoy\"
00:08:49.440 --> 00:08:52.280
was probably around \'93.
00:08:52.280 --> 00:08:57.000
So, it was one of the first
three pieces that I learned
00:08:57.000 --> 00:08:59.080
when I joined the company.
00:08:59.080 --> 00:09:00.560
It looks very fluid,
00:09:00.560 --> 00:09:04.080
but it\'s actually
very challenging
00:09:04.080 --> 00:09:08.160
and filled with imagery
and geometry
00:09:08.160 --> 00:09:13.000
and a lot of precision
in terms of unison
00:09:13.000 --> 00:09:14.720
and spacing.
00:09:21.840 --> 00:09:23.880
So I made one variation on it
00:09:23.880 --> 00:09:25.920
which was to go between
shoulder and head.
00:09:25.920 --> 00:09:28.160
Now let yourself
vary it a little bit.
00:09:28.160 --> 00:09:32.280
So you might want to play with
softening your knees a little
00:09:32.280 --> 00:09:35.600
or seeing if you get
a little bit of a ride with it
00:09:35.600 --> 00:09:38.200
or, I don\'t know,
see what you discover.
00:09:38.200 --> 00:09:40.880
Just for yourself,
just let yourself play
00:09:40.880 --> 00:09:45.160
just a little bit
with this form of rolling
00:09:45.160 --> 00:09:50.440
and feeling your weight
on a diagonal.
00:09:54.760 --> 00:09:56.160
Nice.
00:09:56.160 --> 00:09:59.160
And then at the end,
I want you to...
00:09:59.160 --> 00:10:02.440
really take a moment
to feel what it\'s like
00:10:02.440 --> 00:10:06.160
when you shift
your weight back.
00:10:06.160 --> 00:10:07.560
Don\'t do it all of a sudden,
00:10:07.560 --> 00:10:11.200
just be very conscious
in that time
00:10:11.200 --> 00:10:13.520
of shifting your weight back
00:10:13.520 --> 00:10:17.360
onto your own two feet.
00:10:19.160 --> 00:10:23.360
So if you move out
into the space a little bit,
00:10:23.360 --> 00:10:27.480
the basic premise
in \"Glacial Decoy\"
00:10:27.480 --> 00:10:31.680
is that, at any moment,
your weight could go--
00:10:31.680 --> 00:10:36.160
and I want you to do
the tiniest version possible--
00:10:36.160 --> 00:10:41.840
your weight
could shift forward...
00:10:41.840 --> 00:10:43.400
could shift back--
00:10:43.400 --> 00:10:46.840
just tiny, tiny right now--
00:10:46.840 --> 00:10:50.880
could shift side...
00:10:50.880 --> 00:10:54.440
could shift other side,
or anywhere in between.
00:10:54.440 --> 00:10:57.440
So just give yourself
a moment to feel
00:10:57.440 --> 00:11:00.520
this very mobile sense
00:11:00.520 --> 00:11:04.000
of how the balance is.
00:11:13.240 --> 00:11:16.320
Could be almost so tiny
that I wouldn\'t see it,
00:11:16.320 --> 00:11:20.920
but it\'s a feeling
that you have inside
00:11:20.920 --> 00:11:23.920
that, at any moment,
00:11:23.920 --> 00:11:27.440
your weight could go
00:11:27.440 --> 00:11:30.880
in any direction.
00:11:32.800 --> 00:11:36.720
And that you could relax
with that.
00:11:56.880 --> 00:11:59.760
The gravity piece
is the hardest piece
00:11:59.760 --> 00:12:02.200
for the dancers here to do,
00:12:02.200 --> 00:12:04.360
and I\'m not seeing it
so much this time,
00:12:04.360 --> 00:12:08.040
but often what you see
is if you get people to relax,
00:12:08.040 --> 00:12:10.240
they just like...
00:12:10.240 --> 00:12:13.360
they just sort of empty out
like a balloon
00:12:13.360 --> 00:12:14.920
that just...like that,
00:12:14.920 --> 00:12:17.840
and they\'re not doing that
so much, which is great,
00:12:17.840 --> 00:12:21.840
but what Trisha does--
what Trisha\'s movement does
00:12:21.840 --> 00:12:25.720
a great deal is that
she\'ll have a sink,
00:12:25.720 --> 00:12:30.240
and then that becomes
a rebound into something else.
00:12:30.240 --> 00:12:33.680
It\'s like the act of falling
00:12:33.680 --> 00:12:37.920
just sets a whole string
of things into motion,
00:12:37.920 --> 00:12:42.000
or the act of releasing
the weight downward
00:12:42.000 --> 00:12:43.840
is a beginning;
it\'s not--
00:12:43.840 --> 00:12:47.720
it\'s not a surrender
that goes nowhere.
00:12:47.720 --> 00:12:49.440
It\'s a surrender
that leads
00:12:49.440 --> 00:12:52.920
to a whole string
of other actions.
00:13:04.600 --> 00:13:09.080
Okay, so you see you have
a bigger arc to do.
00:13:13.160 --> 00:13:15.640
Um, and...
00:13:15.640 --> 00:13:16.920
Okay, so, when you--
00:13:16.920 --> 00:13:19.000
when you go into
just the last one,
00:13:19.000 --> 00:13:21.600
when you go into the last one,
there\'s a little bit
00:13:21.600 --> 00:13:23.560
of a tendency
to do that after.
00:13:23.560 --> 00:13:27.040
See if you can go here
and just keep going,
00:13:27.040 --> 00:13:29.400
just leave it open.
00:13:30.560 --> 00:13:31.880
Here.
00:13:31.880 --> 00:13:34.640
Just step past it.
00:13:34.640 --> 00:13:37.440
You just step past it.
00:13:39.520 --> 00:13:43.160
Right, okay, so because
we\'re taking it from nowhere,
00:13:43.160 --> 00:13:47.200
we\'re getting a little bit into
the, like, Russian something.
00:13:47.200 --> 00:13:49.120
You know, we\'re getting like...
00:13:49.120 --> 00:13:49.920
(grunting)
00:13:49.920 --> 00:13:53.520
And it\'s really in transit.
00:13:53.520 --> 00:13:54.560
It continues.
00:13:54.560 --> 00:13:56.160
Yeah, yeah, yeah, yeah, yeah.
00:13:56.160 --> 00:13:59.200
More like that, yeah.
00:13:59.200 --> 00:14:00.080
Okay.
00:14:00.080 --> 00:14:01.600
This one, like,
00:14:01.600 --> 00:14:05.280
I think you probably
remember from before.
00:14:05.280 --> 00:14:07.480
It\'s--you know the tornado,
00:14:07.480 --> 00:14:09.440
that, uh, weather thing,
00:14:09.440 --> 00:14:13.160
the tornado,cyclone,
I guess, I don\'t know.
00:14:13.160 --> 00:14:14.480
It\'s really like that,
00:14:14.480 --> 00:14:16.480
and when you can feel
the momentum--
00:14:16.480 --> 00:14:19.680
so whatever you need to do to
remember, like, oh, the parts,
00:14:19.680 --> 00:14:25.360
but they\'re--you know, the parts
are almost like furniture flying
00:14:25.360 --> 00:14:27.640
in thecyclonelike that.
00:14:27.640 --> 00:14:31.120
That\'s the most
important part of it.
00:14:31.120 --> 00:14:32.440
Okay.
00:14:32.440 --> 00:14:33.200
That was better.
00:14:33.200 --> 00:14:37.560
That was better
because you started here.
00:14:40.680 --> 00:14:44.880
(rhythmically snapping fingers)
00:14:49.760 --> 00:14:51.360
Perfect.
00:14:53.000 --> 00:14:55.440
So we\'re gonna do one thing.
00:14:55.440 --> 00:14:58.240
And for you guys...
00:14:58.240 --> 00:14:59.600
While they\'re doing--
00:14:59.600 --> 00:15:02.280
(unintelligible)
00:15:02.280 --> 00:15:03.120
-Okay.
-Yeah.
00:15:03.120 --> 00:15:06.400
Okay, so, let me just
tell them this really quick.
00:15:06.400 --> 00:15:08.840
So, when you turn,
00:15:08.840 --> 00:15:10.600
when you run,
00:15:10.600 --> 00:15:14.440
you stay in the plié.
00:15:14.440 --> 00:15:16.200
Yeah.
00:15:16.200 --> 00:15:19.320
Yeah, okay, good.
00:15:21.640 --> 00:15:24.440
Wanna try again, everybody?
00:15:27.040 --> 00:15:29.040
First group.
00:15:35.200 --> 00:15:37.560
Nofilleshere.
00:15:48.520 --> 00:15:50.240
Nice.
00:15:59.720 --> 00:16:00.680
(chuckles)
00:16:00.680 --> 00:16:02.480
That\'s okay.
00:16:08.400 --> 00:16:11.640
Oh, yes, that was great.
That was great.
00:16:11.640 --> 00:16:12.840
(clapping)
00:16:12.840 --> 00:16:13.520
Oh!
00:16:13.520 --> 00:16:15.200
Keep going, keep going.
00:16:15.200 --> 00:16:17.680
Oh, right, right.
00:16:17.680 --> 00:16:18.440
Almost.
00:16:18.440 --> 00:16:21.400
That was so close.
00:16:21.400 --> 00:16:23.280
(laughing)
00:16:23.280 --> 00:16:24.320
Was it dangerous?
00:16:24.320 --> 00:16:26.760
-It was okay.
-It was okay?
00:16:26.760 --> 00:16:28.000
You were so good.
00:16:28.000 --> 00:16:29.520
And then once you hit here,
00:16:29.520 --> 00:16:30.720
you don\'t cut right away.
00:16:30.720 --> 00:16:35.480
You go here and forward
like three steps more,
00:16:35.480 --> 00:16:37.320
three steps more forward,
00:16:37.320 --> 00:16:39.920
and then you get to come around.
00:16:39.920 --> 00:16:42.160
So much better.
00:16:46.680 --> 00:16:49.640
-Should we try it again?
-Yeah.
00:17:06.880 --> 00:17:09.640
Mmm, nice.
00:17:09.640 --> 00:17:10.920
Mmm.
00:17:10.920 --> 00:17:13.960
I think that she could go...
00:17:13.960 --> 00:17:15.920
Yes, she can.
00:17:23.160 --> 00:17:24.400
Wow.
00:17:24.400 --> 00:17:25.640
All right.
00:17:25.640 --> 00:17:28.000
Yes, yes, yes, yes, yes.
00:17:29.080 --> 00:17:31.440
Just one point
to go a little faster.
00:17:31.440 --> 00:17:32.360
What--it\'s this one?
00:17:32.360 --> 00:17:37.040
Yeah, I think she can switch
to here a little sooner.
00:17:37.040 --> 00:17:39.200
It just moves
a little bit more.
00:17:39.200 --> 00:17:41.560
It\'s slowing down.
00:17:42.920 --> 00:17:44.000
Yeah, that was good.
00:17:44.000 --> 00:17:46.960
Those pathways were good.
00:17:50.440 --> 00:17:53.240
-Okay.
-Second group?
00:17:59.560 --> 00:18:02.560
Remember, this is the house.
00:18:11.400 --> 00:18:12.040
Good.
00:18:12.040 --> 00:18:13.480
-Oh, good.
-Nice.
00:18:13.480 --> 00:18:14.560
Good distance.
00:18:14.560 --> 00:18:16.240
Very good.
00:18:16.800 --> 00:18:19.120
(snapping fingers)
00:18:28.880 --> 00:18:30.640
Wow.
00:18:31.000 --> 00:18:33.160
(laughing)
00:18:38.960 --> 00:18:42.000
Did you really have a bump?
00:18:42.000 --> 00:18:42.800
Little bit?
00:18:42.800 --> 00:18:45.240
Well, I have to say, I mean,
that\'s how we used--
00:18:45.240 --> 00:18:47.040
we used to really do it
with a bump,
00:18:47.040 --> 00:18:51.160
with a real bump,
like a--like a bump.
00:18:51.160 --> 00:18:52.160
And it was nice, actually,
00:18:52.160 --> 00:18:55.760
but now we\'re afraid
we\'ll hurt each other.
00:18:55.760 --> 00:18:58.120
But we used to have a bump.
00:18:58.120 --> 00:18:59.800
We could finish it this week
00:18:59.800 --> 00:19:02.080
if we maybe split tomorrow.
00:19:02.080 --> 00:19:03.800
-Yeah.
-We could split tomorrow
00:19:03.800 --> 00:19:05.960
and then finish
the duet this week.
00:19:05.960 --> 00:19:07.560
Or, worse case scenario...
00:19:07.560 --> 00:19:09.040
-On Monday.
-Yeah.
00:19:09.040 --> 00:19:10.200
Should I tell them that?
00:19:10.200 --> 00:19:11.880
-Yeah.
-Okay.
00:19:11.880 --> 00:19:13.240
So...
00:19:40.920 --> 00:19:41.920
Okay?
00:19:41.920 --> 00:19:43.920
So...so we\'re good?
00:19:43.920 --> 00:19:44.960
-Yes.
-It\'s okay?
00:19:44.960 --> 00:19:47.360
-Super.
-All right.
00:20:28.960 --> 00:20:31.080
We were working
on the duet today,
00:20:31.080 --> 00:20:34.360
and the main thing
that this is really useful for--
00:20:34.360 --> 00:20:35.600
like I say \"duet begin\"--
00:20:35.600 --> 00:20:39.720
it reminds me where
in the quartet it comes in
00:20:39.720 --> 00:20:41.640
and how the actions
are ordered,
00:20:41.640 --> 00:20:43.360
\'cause they\'re ordered
differently
00:20:43.360 --> 00:20:46.160
than they\'re ordered
in the quartet.
00:20:46.160 --> 00:20:47.760
And it gives me--
00:20:47.760 --> 00:20:51.240
it just reminds me
about the sequence.
00:20:51.240 --> 00:20:54.880
And then, there\'s quite
a bit on that one.
00:20:54.880 --> 00:20:56.960
And I give myself
a little bit of information.
00:20:56.960 --> 00:21:01.200
Like, here\'s our heads
relate to each other.
00:21:01.200 --> 00:21:04.880
You know, this is good
mostly if I don\'t have video,
00:21:04.880 --> 00:21:09.680
or if I just want to remember
quickly what it is.
00:21:09.680 --> 00:21:12.760
Um, this is the one
we were working on now.
00:21:12.760 --> 00:21:14.680
But the funny thing is,
I look at it, I go,
00:21:14.680 --> 00:21:17.080
\"around the world,\"
and I know what that movement is
00:21:17.080 --> 00:21:22.720
but I still need to see it
on the video with pauses.
00:21:22.720 --> 00:21:28.320
And why is it so difficult
to write dance?
00:21:28.320 --> 00:21:31.640
Well, you know,
there are people who say to me,
00:21:31.640 --> 00:21:35.200
\"Oh, you know,
you can Labanotate anything.\"
00:21:35.200 --> 00:21:37.080
And I say,
\"Well, good luck,
00:21:37.080 --> 00:21:39.800
you know,
Labanotating Trisha\'s work.\"
00:21:39.800 --> 00:21:42.000
It\'s ridiculous.
I have to show you.
00:21:42.000 --> 00:21:43.800
-Is that okay?
-Yes.
00:21:43.800 --> 00:21:45.360
Like...okay.
00:21:45.360 --> 00:21:48.240
So, I think the whole idea
00:21:48.240 --> 00:21:51.760
of various kinds of notations
00:21:51.760 --> 00:21:55.440
is they\'ll tell you
what\'s going on with your torso,
00:21:55.440 --> 00:21:58.400
they\'ll tell you
where you\'re placing your limbs,
00:21:58.400 --> 00:22:01.280
they\'ll tell you, you know,
where you\'re placing your head,
00:22:01.280 --> 00:22:05.520
what direction you\'re moving in,
what dynamic you\'re moving in,
00:22:05.520 --> 00:22:07.640
but, you know,
I\'m wearing very loose clothes,
00:22:07.640 --> 00:22:09.840
so maybe it\'s not
that easy to see it.
00:22:09.840 --> 00:22:13.880
How do you notate
something like this?
00:22:13.880 --> 00:22:15.440
Knee, hand;
00:22:15.440 --> 00:22:17.480
knee, hand, rib cage;
00:22:17.480 --> 00:22:21.120
hip, heel, foot, shoulder...
00:22:21.120 --> 00:22:24.520
Everything is sequenced.
00:22:24.520 --> 00:22:27.880
So, the way that this happens,
00:22:27.880 --> 00:22:30.200
it happens because--
00:22:30.200 --> 00:22:32.280
it happens--this--
00:22:32.280 --> 00:22:33.560
this happens--
00:22:33.560 --> 00:22:36.160
this happens
because this happens.
00:22:36.160 --> 00:22:38.160
It travels internally.
00:22:38.160 --> 00:22:40.480
How do you notate that?
00:22:40.480 --> 00:22:41.400
You don\'t notate that.
00:22:41.400 --> 00:22:44.600
And that is actually one
of the really hard things
00:22:44.600 --> 00:22:46.600
for people to see on a video.
00:22:46.600 --> 00:22:50.640
So, when you have someone
who has it in the body--
00:22:50.640 --> 00:22:52.200
we call it \"in the body\"--
00:22:52.200 --> 00:22:56.720
that is the best way
to transmit it, really.
00:22:56.720 --> 00:22:58.840
Like, we have a bunch
of things in this dance
00:22:58.840 --> 00:23:01.960
that would be so hard
for you to ever understand,
00:23:01.960 --> 00:23:05.320
and part of why Carolyn
is happy to be working with me
00:23:05.320 --> 00:23:07.680
is that, like,
I have these things
00:23:07.680 --> 00:23:10.400
very, very integrated, you know?
00:23:10.400 --> 00:23:12.480
So like, here we have this one.
00:23:12.480 --> 00:23:13.920
You go...
00:23:17.800 --> 00:23:20.160
How would you ever notate that?
00:23:20.160 --> 00:23:21.080
You know, you can--
00:23:21.080 --> 00:23:22.880
I can tell dancers, like,
00:23:22.880 --> 00:23:25.160
\"It goes foot, hand,
00:23:25.160 --> 00:23:27.680
left shoulder,
right shoulder, back,
00:23:27.680 --> 00:23:29.440
left shoulder,
right shoulder.
00:23:29.440 --> 00:23:31.760
Everything is falling,
and you fall,\"
00:23:31.760 --> 00:23:33.160
and then I show them
from the side,
00:23:33.160 --> 00:23:36.520
but it\'s really--
it\'s really falling.
00:23:36.520 --> 00:23:37.640
Really falling.
00:23:37.640 --> 00:23:39.720
You can\'t notate that.
00:23:39.720 --> 00:23:44.840
So, that\'s my lecture
on that subject.
00:23:44.840 --> 00:23:47.200
I feel kind of passionate
about that.
00:23:47.200 --> 00:23:51.920
Like, that\'s part of what
makes Trisha amazing,
00:23:51.920 --> 00:23:55.480
that she developed movement
that went so far beyond.
00:23:55.480 --> 00:23:58.320
I used to watch videos
in fast motion
00:23:58.320 --> 00:24:01.240
of all kinds of dance,
and basically,
00:24:01.240 --> 00:24:03.000
you could look at
Paris Opera Ballet,
00:24:03.000 --> 00:24:06.680
you could look at anybody,
and it was upright!
00:24:06.680 --> 00:24:07.560
It was all upright!
00:24:07.560 --> 00:24:10.920
Like, body and arms
and legs moving, you know?
00:24:10.920 --> 00:24:13.080
Any kind of dance--
modern dance, whatever.
00:24:13.080 --> 00:24:15.360
You know, maybe they would go
to the floor sometime,
00:24:15.360 --> 00:24:19.600
but it would still basically
be this, you know, whatever.
00:24:19.600 --> 00:24:25.600
And with Trisha, suddenly,
that\'s not true anymore.
00:24:25.600 --> 00:24:27.160
It\'s not what she did.
00:24:27.160 --> 00:24:31.520
She turned everything
in every direction,
00:24:31.520 --> 00:24:32.960
and it\'s great.
00:24:32.960 --> 00:24:39.280
So, I fear that people
don\'t recognize
00:24:39.280 --> 00:24:40.880
how radical that was,
00:24:40.880 --> 00:24:43.840
that they say,
\"Oh, you can notate it.\"
00:24:43.840 --> 00:24:46.040
I don\'t think so.
00:25:23.800 --> 00:25:24.600
I can just tell you,
00:25:24.600 --> 00:25:29.520
Trisha had an image
in one of her other dances.
00:25:42.520 --> 00:25:44.160
...and you go like that.
00:25:44.160 --> 00:25:45.200
So you\'re like...
00:25:45.200 --> 00:25:48.040
pretending that
you\'re in the air.
00:25:48.040 --> 00:25:49.440
And this is a lot like that.
00:25:49.440 --> 00:25:52.080
It\'s like you go,
\"Oh, I\'m there forever,\"
00:25:52.080 --> 00:25:54.600
but you\'re not, right?
00:25:54.600 --> 00:25:56.240
Right, right.
00:25:56.240 --> 00:25:57.160
But it\'s light.
00:25:57.160 --> 00:25:58.680
-Like floating.
-Yes, floating.
00:25:58.680 --> 00:26:02.760
\"I could float here forever,
but I\'m not!\"
00:26:02.760 --> 00:26:03.280
Yeah.
00:26:03.280 --> 00:26:06.520
So, my job is to be--
we call it in America--
00:26:06.520 --> 00:26:10.200
people don\'t have records
anymore, right?
00:26:10.200 --> 00:26:11.720
Right, you have records, discs--
00:26:11.720 --> 00:26:13.760
Oh, they\'re trendy now, right?
00:26:13.760 --> 00:26:14.520
It is trendy.
00:26:14.520 --> 00:26:17.360
But when you have one
with a skip,
00:26:17.360 --> 00:26:20.040
we call it a broken record.
00:26:34.840 --> 00:26:36.680
Here.
00:26:46.960 --> 00:26:51.440
Right? Because when everybody
is on the same page,
00:26:51.440 --> 00:26:53.240
here, here, here,
00:26:53.240 --> 00:26:57.120
and you all go back
the same way, it\'s...
00:26:57.120 --> 00:26:57.920
(kissing)
00:26:57.920 --> 00:27:00.960
...thrilling, very exciting.
00:27:00.960 --> 00:27:04.080
So, we go here,
00:27:04.080 --> 00:27:07.320
down, down-up, down,
00:27:07.320 --> 00:27:08.640
up top.
00:27:08.640 --> 00:27:11.000
-Nice.
-Yeah.
00:27:14.040 --> 00:27:15.640
-Okay?
-It\'s so beautiful.
00:27:15.640 --> 00:27:17.960
It\'s so nice to be reminded
00:27:17.960 --> 00:27:19.600
\'cause it\'s so buoyant.
00:27:19.600 --> 00:27:21.280
Yeah, it\'s very buoyant,
very nice.
00:27:21.280 --> 00:27:24.680
And then it makes it really fun
to go all the way around
00:27:24.680 --> 00:27:28.480
\'cause you have
a good start, right?
00:27:28.480 --> 00:27:30.560
Okay. Ready?
00:27:32.520 --> 00:27:33.560
And...
00:27:33.560 --> 00:27:35.360
(whistling)
00:27:36.480 --> 00:27:38.400
Beautiful.
00:27:38.400 --> 00:27:39.920
Yes!
00:27:40.560 --> 00:27:42.880
That\'s a room full of people
moving together.
00:27:42.880 --> 00:27:45.280
-I know, that was amazing.
-That was beautiful.
00:27:45.280 --> 00:27:47.880
What was so great about that...
00:27:55.560 --> 00:27:57.280
It was really good.
00:28:58.400 --> 00:29:00.600
I just would say,
in terms of--
00:29:00.600 --> 00:29:02.600
I\'m facing the wrong way--
00:29:02.600 --> 00:29:05.400
um, in terms of these,
00:29:05.400 --> 00:29:07.360
like, the more you can feel
00:29:07.360 --> 00:29:12.920
like you have water
where your hips are.
00:29:16.800 --> 00:29:22.040
So here, it\'s almost
like we\'ve got...
00:29:22.040 --> 00:29:22.920
the low,
00:29:22.920 --> 00:29:27.360
and then it\'s just
easily moving a little bit,
00:29:27.360 --> 00:29:29.200
a little bit of movement
00:29:29.200 --> 00:29:31.280
in that nice bowl of water.
00:29:31.280 --> 00:29:36.720
-Just a little bit.
-Just a little bit of water
00:29:36.720 --> 00:29:38.400
moving.
00:29:39.440 --> 00:29:40.800
So...
00:30:01.920 --> 00:30:03.280
So...
00:30:07.800 --> 00:30:10.480
I think it\'s nice
to make the connection
00:30:10.480 --> 00:30:12.800
with this one, too...
00:30:16.920 --> 00:30:18.520
...because you\'re going
00:30:18.520 --> 00:30:20.360
down-up, right?
00:30:20.360 --> 00:30:21.680
You\'re going...
00:30:21.680 --> 00:30:24.840
(humming)
00:30:24.840 --> 00:30:26.240
So the weight is always
00:30:26.240 --> 00:30:30.720
sink-rise, sink-rise,
sink-rise...
00:30:36.800 --> 00:30:41.720
So, remember,
this is like this,
00:30:41.720 --> 00:30:46.520
basically around the world
together.
00:30:46.520 --> 00:30:48.760
Then it opens.
00:30:48.760 --> 00:30:49.680
Yeah?
00:30:49.680 --> 00:30:52.760
(humming)
00:30:56.920 --> 00:30:58.280
Yeah.
00:31:00.800 --> 00:31:02.800
Is it clear?
00:31:02.800 --> 00:31:05.600
So we connected
everything beautifully,
00:31:05.600 --> 00:31:08.640
and I think everyone\'s arms
are pretty good here,
00:31:08.640 --> 00:31:10.920
but we might as well say, right?
00:31:10.920 --> 00:31:12.760
We\'ll just say what they are.
00:31:12.760 --> 00:31:14.120
Mmm, mmm,
00:31:14.120 --> 00:31:16.960
left, right opens,
00:31:16.960 --> 00:31:19.240
left, right,
00:31:19.240 --> 00:31:20.360
left across.
00:31:20.360 --> 00:31:25.000
Okay, there are a couple things
that I see with this.
00:31:25.000 --> 00:31:28.800
Again, it\'s great
that we have more time
00:31:28.800 --> 00:31:30.840
to let this sink in.
00:31:30.840 --> 00:31:32.320
I think we were
talking about it.
00:31:32.320 --> 00:31:34.880
It\'s one of those ones
that\'s like acyclone.
00:31:34.880 --> 00:31:39.400
You know, it\'s like a cyclone,
and things are flying off of it.
00:31:39.400 --> 00:31:41.600
Sort of like the cyclone
picks things up
00:31:41.600 --> 00:31:45.360
and they get
thrown around, right?
00:31:45.360 --> 00:31:48.040
So, here,
00:31:48.040 --> 00:31:50.400
in, out.
00:31:50.400 --> 00:31:51.880
In,
00:31:51.880 --> 00:31:53.560
across, and then back.
00:31:53.560 --> 00:31:56.000
That\'s--that\'s the shape of it.
00:31:56.000 --> 00:31:58.760
Right, I didn\'t do
the knee though.
00:31:58.760 --> 00:32:01.040
Here.
00:32:01.040 --> 00:32:03.040
Knee, right?
00:32:03.040 --> 00:32:04.480
Knee.
00:32:04.480 --> 00:32:07.520
And now there is a thing--
00:32:07.520 --> 00:32:11.200
there is a thing
where it\'s like
00:32:11.200 --> 00:32:14.040
the upper body...
00:32:14.040 --> 00:32:14.880
the legs are falling,
00:32:14.880 --> 00:32:20.760
and the upper body takes
a tad longer to fall, right?
00:32:20.760 --> 00:32:21.840
Right?
00:32:21.840 --> 00:32:24.680
So, without glasses.
00:32:27.560 --> 00:32:28.520
I want to do it facing you,
00:32:28.520 --> 00:32:32.960
or I want to do it
so you can see the fall, okay?
00:32:32.960 --> 00:32:38.200
So, I still feel like
that scary thing
00:32:38.200 --> 00:32:40.640
can happen a little more.
00:32:40.640 --> 00:32:43.560
It can happen a little bit more.
00:32:43.560 --> 00:32:44.680
Right?
00:32:44.680 --> 00:32:46.280
So, let me see.
00:32:46.280 --> 00:32:47.960
If I\'m on stage
00:32:47.960 --> 00:32:51.560
and that\'s my front,
so you can see my fall,
00:32:51.560 --> 00:32:53.840
I go like that...
00:32:57.200 --> 00:32:59.280
Whoa!
00:32:59.280 --> 00:33:00.000
Right?
00:33:00.000 --> 00:33:02.080
I am really falling, right?
00:33:02.080 --> 00:33:04.440
That was amazing.
00:33:12.920 --> 00:33:15.640
Yeah, yeah.
00:33:15.640 --> 00:33:19.040
So, if you bend
your knees a lot,
00:33:19.040 --> 00:33:20.800
you\'re saving yourself.
00:33:20.800 --> 00:33:22.880
You have to let your hips--
00:33:22.880 --> 00:33:26.760
you have to let your knees
not be bent.
00:33:26.760 --> 00:33:28.360
Yes!
00:33:28.360 --> 00:33:29.960
Well...
00:33:29.960 --> 00:33:31.480
close.
00:33:32.600 --> 00:33:35.920
Yeah, I don\'t know,
there\'s some--
00:33:37.200 --> 00:33:39.040
A little lighter,
there\'s a way
00:33:39.040 --> 00:33:40.720
that it could be
lighter for you.
00:33:40.720 --> 00:33:42.680
I don\'t know how.
00:33:42.680 --> 00:33:45.120
A little bit lighter.
00:33:55.800 --> 00:33:59.480
Okay, watch out where
other legs are, right?
00:33:59.480 --> 00:34:02.720
Watch out for other tornadoes.
00:34:04.440 --> 00:34:05.480
Okay.
00:34:05.480 --> 00:34:07.080
Does everybody know
where you are?
00:34:07.080 --> 00:34:09.720
Caroline\'s in the right place.
00:34:09.720 --> 00:34:11.440
Laurence, face back.
00:34:11.440 --> 00:34:14.120
We\'re going from here,
we changed.
00:34:14.120 --> 00:34:15.240
Yeah, okay.
00:34:15.240 --> 00:34:17.080
Ready, and...
00:34:17.080 --> 00:34:19.520
(humming)
00:34:23.240 --> 00:34:25.600
Oh, man!
00:34:25.600 --> 00:34:28.560
-That was fantastic.
-What do you think? Yay!
00:34:28.560 --> 00:34:30.320
That was the best one.
00:34:30.320 --> 00:34:31.160
That was the best one.
00:34:31.160 --> 00:34:34.000
I don\'t know about everybody,
if it felt okay,
00:34:34.000 --> 00:34:38.680
but as a group,
it was the best.
00:34:38.680 --> 00:34:40.520
That was great.
00:34:41.280 --> 00:34:46.000
Lisa has such
a strong connection
00:34:46.000 --> 00:34:47.240
to the original movement
00:34:47.240 --> 00:34:49.320
\'cause she made it
with Trisha,
00:34:49.320 --> 00:34:52.160
and it\'s wonderful,
and I actually think
00:34:52.160 --> 00:34:54.720
the dancers here
are really, really lucky
00:34:54.720 --> 00:35:00.360
to have the knowledge
come from her to them,
00:35:00.360 --> 00:35:02.520
and she\'s kind of--
00:35:02.520 --> 00:35:04.880
she talks about
a tornado sometimes,
00:35:04.880 --> 00:35:08.640
and she\'s kind of
a tornado herself
00:35:08.640 --> 00:35:13.280
in a calm but very, uh...
00:35:14.640 --> 00:35:17.120
...very energetic way.
00:35:17.120 --> 00:35:18.880
Just beautiful.
00:36:45.560 --> 00:36:48.320
Good, good, good.
00:36:49.360 --> 00:36:51.440
So, you guys, um,
00:36:51.440 --> 00:36:52.960
as you practice this,
00:36:52.960 --> 00:36:57.000
the women on the side
need to help
00:36:57.000 --> 00:37:00.960
the women on the inside
go to the right place.
00:37:00.960 --> 00:37:03.880
So you don\'t want to stand away
00:37:03.880 --> 00:37:06.960
and then--and then enter here,
00:37:06.960 --> 00:37:09.600
\'cause everybody can see you.
00:37:09.600 --> 00:37:11.800
Do you understand what I mean?
00:37:11.800 --> 00:37:14.440
So, you need to be
00:37:14.440 --> 00:37:20.000
a little more where
you need them to come.
00:37:30.800 --> 00:37:33.560
This one is up here.
00:37:41.400 --> 00:37:44.560
This one is up here, right?
00:37:47.040 --> 00:37:48.600
Or is it down?
00:37:48.600 --> 00:37:50.520
We put it down.
00:38:34.320 --> 00:38:35.800
So, you know, I realized
00:38:35.800 --> 00:38:38.560
part of what we\'ve got
going on here is
00:38:38.560 --> 00:38:40.040
it\'s a meeting of worlds.
00:38:40.040 --> 00:38:45.480
Like, I don\'t have the kind
of training that you have,
00:38:45.480 --> 00:38:49.600
and most of you don\'t have the
kind of training I have either,
00:38:49.600 --> 00:38:54.320
so we\'re meeting in the middle
of those things,
00:38:54.320 --> 00:38:58.160
and part of why I think
\"Glacial Decoy,\" in particular,
00:38:58.160 --> 00:39:01.080
looks very beautiful
on the ballet
00:39:01.080 --> 00:39:04.360
is that you finish
the shapes in a way
00:39:04.360 --> 00:39:09.120
that a contemporary dancer
might not finish them.
00:39:09.120 --> 00:39:12.520
So, let\'s talk about
\"Glacial Decoy.\"
00:39:12.520 --> 00:39:16.960
To talk about it,
we have to talk about
00:39:16.960 --> 00:39:18.360
what came before it,
00:39:18.360 --> 00:39:25.080
because \"Glacial Decoy\"
was a complete turning point.
00:39:25.080 --> 00:39:29.440
Complete, complete
turning point.
00:39:30.760 --> 00:39:33.640
Who has ever seen this image?
00:39:33.640 --> 00:39:34.720
Can you see it?
00:39:34.720 --> 00:39:36.760
Well enough?
You want to move in?
00:39:36.760 --> 00:39:38.880
Why don\'t you move in.
00:39:40.200 --> 00:39:41.080
What is that?
00:39:41.080 --> 00:39:42.880
This is a human being.
00:39:42.880 --> 00:39:46.280
In fact, it is
Trisha Brown\'s husband.
00:39:46.280 --> 00:39:52.720
This is a six-story or whatever
New York City loft building.
00:39:52.720 --> 00:39:55.080
This is a rope.
00:39:55.080 --> 00:39:59.760
He has on
mountain-climbing harness.
00:39:59.760 --> 00:40:02.160
There\'s someone down below,
00:40:02.160 --> 00:40:05.880
and I think there\'s
someone up above, also,
00:40:05.880 --> 00:40:08.200
helping him be secure.
00:40:08.200 --> 00:40:10.720
The building is like this.
00:40:10.720 --> 00:40:12.520
He starts like this
00:40:12.520 --> 00:40:14.480
and then goes like this
00:40:14.480 --> 00:40:21.040
and walks down the side
of the building.
00:40:21.760 --> 00:40:23.200
This dance is called
00:40:23.200 --> 00:40:26.720
\"Man Walking Down
the Side of a Building.\"
00:40:26.720 --> 00:40:29.000
(laughter)
00:40:48.560 --> 00:40:51.400
And about 30 people saw it,
00:40:51.400 --> 00:40:56.240
standing in a little courtyard
in New York City,
00:40:56.240 --> 00:41:01.680
and it\'s changed
contemporary dance...
00:41:03.240 --> 00:41:06.400
...because, along with that,
00:41:06.400 --> 00:41:08.440
Trisha was doing
things outdoors.
00:41:08.440 --> 00:41:10.360
This piece is called
\"Roof Piece.\"
00:41:10.360 --> 00:41:15.080
These are all from
the early 1970s.
00:41:17.040 --> 00:41:19.720
Friend on a roof,
another friend on another roof,
00:41:19.720 --> 00:41:23.480
another friend on another,
another on another roof,
00:41:23.480 --> 00:41:26.320
and in the film that I saw,
00:41:26.320 --> 00:41:28.440
they were all wearing red
00:41:28.440 --> 00:41:29.960
so you could spot them,
00:41:29.960 --> 00:41:33.440
and there\'s a kind
of semaphore movement.
00:41:33.440 --> 00:41:34.560
You know, it\'s like,
00:41:34.560 --> 00:41:40.200
these kind of really clear,
gestural things, whatever,
00:41:40.200 --> 00:41:43.920
and it\'s like
the game Telephone
00:41:43.920 --> 00:41:45.920
where I say
blah-blah-blah-blah,
00:41:45.920 --> 00:41:47.680
and then you say it
and then you say it
00:41:47.680 --> 00:41:49.320
and then you say it
and you say it,
00:41:49.320 --> 00:41:51.680
and it just goes on
down the line.
00:41:51.680 --> 00:41:53.280
But it\'s very beautiful
00:41:53.280 --> 00:41:58.400
to have the landscape
populated like that.
00:41:58.400 --> 00:42:01.840
So, that\'s called \"Roof Piece.\"
00:42:02.200 --> 00:42:06.520
Let\'s see what else--oh,
those are the people looking up.
00:42:06.520 --> 00:42:09.040
Not even 25.
00:42:09.040 --> 00:42:11.440
Twelve people?
00:42:11.440 --> 00:42:12.280
I don\'t know.
00:42:12.280 --> 00:42:16.520
That dance, and a number
of the other very early dances,
00:42:16.520 --> 00:42:17.720
have been done again recently
00:42:17.720 --> 00:42:22.360
for the 40th anniversary
of Trisha Brown Dance Company.
00:42:22.360 --> 00:42:24.960
So, these are the early dances
00:42:24.960 --> 00:42:27.960
in that realm
of walking down a building
00:42:27.960 --> 00:42:31.840
where you\'re messing
with gravity.
00:42:31.840 --> 00:42:34.520
You\'re messing around
with gravity.
00:42:34.520 --> 00:42:38.440
It\'s just two people walking--
we can try this.
00:42:38.440 --> 00:42:41.560
It\'s just two people walking,
00:42:41.560 --> 00:42:45.160
but they get at this angle
00:42:45.160 --> 00:42:49.520
that they could never do
by themselves, right?
00:42:49.520 --> 00:42:51.040
Because they have--
00:42:51.040 --> 00:42:54.240
this is like the basis
of the whole thing--
00:42:54.240 --> 00:42:56.680
because of the counterbalance.
00:42:56.680 --> 00:42:59.200
So it\'s like...
00:42:59.200 --> 00:43:00.360
How do I do it?
00:43:00.360 --> 00:43:01.680
Okay, these are the feet,
00:43:01.680 --> 00:43:07.120
and it\'s this
that makes that possible.
00:43:08.080 --> 00:43:13.320
So, tension, weight,
00:43:13.320 --> 00:43:15.200
interesting task,
00:43:15.200 --> 00:43:16.560
and they fall down!
00:43:16.560 --> 00:43:18.440
You see the video
and they\'re like,
00:43:18.440 --> 00:43:22.240
tumble down, get back up,
tumble down, get back up.
00:43:22.240 --> 00:43:25.040
It\'s all like an experiment.
00:43:25.040 --> 00:43:28.920
What do we--what happens
if we do this?
00:43:39.200 --> 00:43:41.760
(laughter)
00:44:19.800 --> 00:44:22.320
Walking down
the side of a building;
00:44:22.320 --> 00:44:24.200
walking on walls.
00:44:24.200 --> 00:44:27.760
Similar idea,
but you\'re held by the side,
00:44:27.760 --> 00:44:31.080
and there\'s a track here
and a track here,
00:44:31.080 --> 00:44:35.760
and there\'s like six
or seven dancers,
00:44:35.760 --> 00:44:37.520
quite a few,
and they\'re walking
00:44:37.520 --> 00:44:40.480
at different speeds
and different heights,
00:44:40.480 --> 00:44:43.440
and there are shadows,
00:44:43.440 --> 00:44:46.480
and it\'s so beautiful.
00:44:48.280 --> 00:44:50.120
But it\'s an illusion
00:44:50.120 --> 00:44:53.560
because if you\'re held here,
00:44:53.560 --> 00:44:57.280
you\'re--ordinarily,
if you\'re held like that,
00:44:57.280 --> 00:45:02.200
say this is my body
held like that,
00:45:02.200 --> 00:45:04.520
it would do that, right?
00:45:04.520 --> 00:45:08.840
So there\'s effort to do that.
00:45:08.840 --> 00:45:10.240
And that\'s an illusion.
00:45:10.240 --> 00:45:14.120
Just the same way walking
down the side of a building
00:45:14.120 --> 00:45:16.360
is not the way
the body works.
00:45:16.360 --> 00:45:20.360
You would be like this,
you know, in your harness.
00:45:20.360 --> 00:45:23.200
So, it\'s all this effort
00:45:23.200 --> 00:45:25.880
to make the illusion
of the line.
00:45:25.880 --> 00:45:27.320
And we work with that, too.
00:45:27.320 --> 00:45:29.440
It\'s like in the dance \"Locus,\"
00:45:29.440 --> 00:45:31.280
like you hold a line,
00:45:31.280 --> 00:45:32.760
you hold a line,
00:45:32.760 --> 00:45:34.440
and then you fall out of it.
00:45:34.440 --> 00:45:35.560
You, like, go for the edge
00:45:35.560 --> 00:45:38.520
and then you use--
you fall out of it.
00:45:38.520 --> 00:45:41.600
But this is my idea--
00:45:41.600 --> 00:45:43.360
I\'m sure it\'s true--
00:45:43.360 --> 00:45:46.960
that all this experimentation
00:45:46.960 --> 00:45:49.800
was what formed the basis
00:45:49.800 --> 00:45:52.240
of the way she worked
with movement
00:45:52.240 --> 00:45:54.520
with just a standing body,
00:45:54.520 --> 00:45:57.200
just like us in the room,
00:45:57.200 --> 00:45:58.480
no equipment,
00:45:58.480 --> 00:46:03.840
was formed through
doing these things.
00:46:12.040 --> 00:46:15.040
Can I say one more thing about--
00:46:15.040 --> 00:46:15.880
From this place,
00:46:15.880 --> 00:46:20.320
I\'m so happy with how you all
are finding your curves.
00:46:20.320 --> 00:46:21.040
It\'s very nice.
00:46:21.040 --> 00:46:24.040
You\'re all finding
beautiful, beautiful curves now.
00:46:24.040 --> 00:46:27.160
But you want to be able
to go two directions,
00:46:27.160 --> 00:46:32.240
that you\'re going here,
your hands are going there,
00:46:32.240 --> 00:46:33.680
and you\'re traveling there,
00:46:33.680 --> 00:46:38.160
so you\'re really showing
both things.
00:46:38.160 --> 00:46:42.480
You\'re really showing--right.
00:46:42.480 --> 00:46:44.400
Yeah.
00:46:46.360 --> 00:46:48.600
That\'s beautiful.
00:46:52.760 --> 00:46:57.720
That\'s a real
digest-your-lunch thing.
00:47:00.000 --> 00:47:02.120
It is, right?
00:47:03.200 --> 00:47:04.840
-Oh.
-I love that.
00:47:04.840 --> 00:47:09.000
That\'s so nice, the, um...
00:47:09.800 --> 00:47:11.280
-...that I danced.
-You didn\'t know that?
00:47:11.280 --> 00:47:14.040
-No, I didn\'t.
-You didn\'t know that?
00:47:14.040 --> 00:47:14.920
No!
00:47:14.920 --> 00:47:17.280
So lucky, you guys are.
00:47:17.280 --> 00:47:18.880
So...
00:47:19.640 --> 00:47:21.280
-It\'s beautiful.
-Yeah.
00:47:21.280 --> 00:47:24.920
And one thing I really like
from seeing this today
00:47:24.920 --> 00:47:27.280
is that Lisa is really clear,
00:47:27.280 --> 00:47:28.200
like, she says,
00:47:28.200 --> 00:47:31.360
\"I\'m gonna go
two directions.\"
00:47:31.360 --> 00:47:36.160
So you don\'t actually have time
to get two...
00:47:38.000 --> 00:47:40.640
...but maybe to move away,
00:47:40.640 --> 00:47:43.880
and it actually gives it
a beautiful rhythm.
00:47:43.880 --> 00:47:46.440
Lighter, maybe.
00:47:46.440 --> 00:47:49.160
To move away--yeah, whoa!
00:47:49.160 --> 00:47:50.960
That looked nice, right?
00:47:50.960 --> 00:47:52.280
Mm-hm, mm-hm.
00:47:52.280 --> 00:47:53.720
Good.
00:47:56.600 --> 00:47:58.120
Beautiful.
00:47:58.120 --> 00:48:00.840
(humming)
00:48:16.600 --> 00:48:20.120
Um, okay, so this
is broken record.
00:48:20.120 --> 00:48:24.760
The hips stay forward
when you do this.
00:48:24.760 --> 00:48:28.360
The emphasis is on
up and bottom,
00:48:28.360 --> 00:48:31.720
two directions
against each other, right?
00:48:31.720 --> 00:48:37.440
But the way you get that
is you\'re going up,
00:48:37.440 --> 00:48:39.280
you turn,
00:48:39.280 --> 00:48:42.080
and then you just get to do it
00:48:42.080 --> 00:48:43.880
like that, right there.
00:48:43.880 --> 00:48:45.040
You let this go,
00:48:45.040 --> 00:48:47.520
because I\'m still seeing that,
00:48:47.520 --> 00:48:50.000
like the leg come up
on certain people.
00:48:50.000 --> 00:48:52.600
So if I do it facing you,
00:48:52.600 --> 00:48:53.640
what is it?
00:48:53.640 --> 00:48:58.440
I go...this is
a take-off-the-glasses thing.
00:48:58.440 --> 00:49:00.600
So you go...
00:49:00.600 --> 00:49:03.320
(humming)
00:49:04.400 --> 00:49:07.080
Oh, right, and the wind-up,
00:49:07.080 --> 00:49:08.520
right?
00:49:08.520 --> 00:49:11.680
So, you go...
00:49:11.680 --> 00:49:14.720
(humming)
00:49:14.720 --> 00:49:16.600
Wind-up.
00:49:16.600 --> 00:49:18.480
Right, and let that go.
00:49:18.480 --> 00:49:22.280
People are holding that leg.
00:49:22.280 --> 00:49:24.360
Right?
00:49:24.360 --> 00:49:25.160
Right.
00:49:25.160 --> 00:49:27.800
How do you make it light?
00:49:32.720 --> 00:49:36.520
-Use your plié.
-How do we do that?
00:49:36.520 --> 00:49:39.000
We go...
00:49:39.000 --> 00:49:41.840
(humming)
00:49:44.000 --> 00:49:47.920
The whole thing is
that this is here,
00:49:47.920 --> 00:49:49.920
we\'re gonna trade places.
00:49:49.920 --> 00:49:53.680
This is here and I\'m
gonna put this here.
00:49:55.040 --> 00:49:58.760
And you really let
yourself, like...
00:49:58.760 --> 00:50:03.240
You let yourself
take it up on the landing.
00:51:04.440 --> 00:51:06.360
Do you want us to close this?
00:51:06.360 --> 00:51:07.360
It\'s very bright.
00:51:07.360 --> 00:51:11.680
-We can do nothing.
-Oh, we can do nothing.
00:51:11.680 --> 00:51:14.360
Okay, okay.
00:51:16.080 --> 00:51:17.560
All right.
00:51:17.720 --> 00:51:21.240
So, Brigitte,
this is the first time...
00:53:21.320 --> 00:53:24.280
Try to stay in line.
00:56:09.880 --> 00:56:12.840
(applause)
00:56:18.360 --> 00:56:20.120
(laughing)
00:56:20.120 --> 00:56:21.960
She\'s always smiling.
00:56:21.960 --> 00:56:23.560
Yeah.
00:58:26.360 --> 00:58:29.120
(slide projector clicking)
00:59:59.240 --> 01:00:05.000
That I see people\'s heads
like this sometimes,
01:00:05.000 --> 01:00:10.160
that I see people\'s shoulders
like this sometimes,
01:00:10.160 --> 01:00:14.680
that I see people\'s hands
like this sometimes,
01:00:14.680 --> 01:00:17.440
and that I see people\'s spines
like this.
01:00:17.440 --> 01:00:22.120
The legs are getting
much better.
01:00:22.120 --> 01:00:24.440
It\'s like, it\'s syncing here,
01:00:24.440 --> 01:00:31.360
but I think here is where
most people need a remember.
01:00:33.280 --> 01:00:36.440
So, I understand...
01:00:49.440 --> 01:00:52.160
Quality of head,
01:00:52.160 --> 01:00:56.160
heavy arms, easy spine,
01:00:56.160 --> 01:00:57.120
weight,
01:00:57.120 --> 01:00:59.760
able to bend knees, and feet.
01:00:59.760 --> 01:01:01.480
Okay.
01:01:07.320 --> 01:01:08.840
Yeah.
01:01:10.240 --> 01:01:14.520
Trisha has gathered
people in her work
01:01:14.520 --> 01:01:19.160
who have tremendous
passion for it,
01:01:19.160 --> 01:01:23.040
and I have felt so lucky
01:01:23.040 --> 01:01:24.800
to work with Carolyn Lucas
01:01:24.800 --> 01:01:28.160
on this reconstruction
this time.
01:01:28.160 --> 01:01:31.160
We have complemented
each other very well.
01:01:31.160 --> 01:01:35.800
I have the movement
really in my bones, we say.
01:01:35.800 --> 01:01:37.040
And she really has the sense
01:01:37.040 --> 01:01:39.400
of the total vision
and the structure
01:01:39.400 --> 01:01:42.600
in her awareness
very, very fully.
01:01:42.600 --> 01:01:47.440
And I feel like that
complementary quality
01:01:47.440 --> 01:01:50.240
has allowed us both to relax
01:01:50.240 --> 01:01:51.320
and learn.
01:01:51.320 --> 01:01:55.840
So, it\'s, again,
it\'s an alive process
01:01:55.840 --> 01:01:58.640
where we\'re both understanding
01:01:58.640 --> 01:02:02.480
what is of great value
in this dance
01:02:02.480 --> 01:02:04.720
and showing it
to each other.
01:02:04.720 --> 01:02:07.640
I think that that
has made a situation
01:02:07.640 --> 01:02:09.040
where the dancers
recognize it
01:02:09.040 --> 01:02:12.760
as, you know, not just opening
a page from a history book,
01:02:12.760 --> 01:02:16.240
but engaging with
a very alive process.
01:02:16.240 --> 01:02:21.440
So, I feel really fortunate
that we could do it that way.
01:02:23.400 --> 01:02:25.080
Oh, I see what it is.
01:02:25.080 --> 01:02:28.920
We were doing that first step
on the diagonal,
01:02:28.920 --> 01:02:31.280
and then we needed to change it.
01:02:31.280 --> 01:02:32.640
Oh.
01:02:32.640 --> 01:02:34.200
Yeah.
01:03:32.160 --> 01:03:33.200
Nice.
01:03:33.200 --> 01:03:34.960
Really good.
01:03:46.000 --> 01:03:46.920
It\'s better.
01:03:46.920 --> 01:03:48.760
The proximity is good.
01:03:48.760 --> 01:03:50.320
Mm-hm.
01:04:02.040 --> 01:04:04.880
Trisha had
long-standing relationships
01:04:04.880 --> 01:04:07.600
with a lot of visual artists.
01:04:07.600 --> 01:04:11.040
So, Robert Rauschenberg
was one of those people,
01:04:11.040 --> 01:04:18.200
and Rauschenberg decided
to give this dance costumes.
01:04:18.200 --> 01:04:19.600
These are silk.
01:04:19.600 --> 01:04:21.960
They were--I don\'t know
what they are now.
01:04:21.960 --> 01:04:22.640
Probably silk.
01:04:22.640 --> 01:04:25.280
And they\'re just pleated
and they\'re transparent.
01:04:25.280 --> 01:04:28.480
Originally we were supposed
to wear nothing underneath them.
01:04:28.480 --> 01:04:30.920
I don\'t know what you do now,
I forget,
01:04:30.920 --> 01:04:34.600
but I\'m sure you wear underwear.
01:04:34.600 --> 01:04:36.920
And, uh...
01:04:36.920 --> 01:04:42.000
And the kind of correspondence
to, like, a ballet gown
01:04:42.000 --> 01:04:46.440
or something, it\'s kind of
interesting, isn\'t it?
01:04:46.440 --> 01:04:49.040
\"Glacial Decoy\" is in silence,
01:04:49.040 --> 01:04:50.520
but--and this is kind of funny--
01:04:50.520 --> 01:04:56.440
when we first did it,
which was in 1979,
01:04:56.440 --> 01:05:01.880
you would hear the sound
of the slide projectors.
01:05:01.880 --> 01:05:06.320
(mimicking projector clicking)
01:05:06.520 --> 01:05:08.040
Or maybe it\'s one,
I don\'t remember
01:05:08.040 --> 01:05:10.400
if it\'s that\'s many--
if you hear that many--
01:05:10.400 --> 01:05:12.800
Maybe you just hear...
01:05:12.800 --> 01:05:15.160
You\'ll hear when it is,
I don\'t know.
01:05:15.160 --> 01:05:17.800
But I just find that so cool.
01:05:17.800 --> 01:05:22.040
And the images, it\'s like
the only dance I can think of
01:05:22.040 --> 01:05:22.800
where it\'s like,
01:05:22.800 --> 01:05:24.160
\"Okay, I know I\'m
in the right place
01:05:24.160 --> 01:05:27.920
because the head of the cow
is right there right now.\"
01:05:27.920 --> 01:05:29.480
You know, right?\"
01:05:29.480 --> 01:05:33.800
Um, I mean, the majority
of the photos are--
01:05:33.800 --> 01:05:36.360
a lot of them
were taken in Florida
01:05:36.360 --> 01:05:38.360
around where he was living,
01:05:38.360 --> 01:05:42.640
and they\'re a little bit--
they have a quality
01:05:42.640 --> 01:05:45.600
of a kind of, um,
01:05:45.600 --> 01:05:49.960
rough, rusty,
01:05:49.960 --> 01:05:55.800
either agricultural
or industrial or poor
01:05:55.800 --> 01:05:57.960
American landscape.
01:05:57.960 --> 01:06:02.840
Um, you know, there are
sort of folk art ideas in them,
01:06:02.840 --> 01:06:06.960
and, you know,
an old railroad sign in them
01:06:06.960 --> 01:06:09.480
for his signature, and, um,
01:06:09.480 --> 01:06:12.240
you know, that\'s somewhat
my interpretation,
01:06:12.240 --> 01:06:13.240
but, you know, there\'s--
01:06:13.240 --> 01:06:15.640
I guess there\'s
a palm tree here or there.
01:06:15.640 --> 01:06:17.920
There\'s a cow,
there\'s things
01:06:17.920 --> 01:06:19.760
that you find
in the landscape.
01:06:19.760 --> 01:06:22.240
I don\'t remember interiors
01:06:22.240 --> 01:06:26.440
in the collection
of photos, really.
01:06:26.440 --> 01:06:30.040
Don\'t remember interiors.
01:06:30.040 --> 01:06:33.000
Something to see
with this idea
01:06:33.000 --> 01:06:37.480
of first (unintelligible) piece?
01:06:37.480 --> 01:06:41.280
You mean outdoors,
like bring the outdoors in?
01:06:41.280 --> 01:06:44.240
To have outside in the theater.
01:06:44.240 --> 01:06:46.920
Yeah, I don\'t know.
01:06:46.920 --> 01:06:48.800
Maybe.
01:06:48.800 --> 01:06:51.040
Maybe.
01:06:51.040 --> 01:06:52.120
Yeah, I don\'t know.
01:06:52.120 --> 01:06:53.440
But it\'s so formalized,
01:06:53.440 --> 01:06:54.880
you know, it\'s black and white,
01:06:54.880 --> 01:06:58.840
it\'s huge, it\'s crisp, it\'s...
01:06:58.840 --> 01:07:02.440
it\'s distorted in that way.
01:07:02.440 --> 01:07:03.520
I don\'t know.
01:07:03.520 --> 01:07:06.080
And when you were dancing,
01:07:06.080 --> 01:07:07.680
did you see the photos?
01:07:07.680 --> 01:07:11.000
Yeah, that\'s really fun.
01:07:11.000 --> 01:07:12.480
Yes.
01:07:12.480 --> 01:07:13.800
Very much so.
01:07:13.800 --> 01:07:19.000
I mean, you know,
dancing this dance...
01:07:19.000 --> 01:07:22.080
takes attention
in many areas.
01:07:22.080 --> 01:07:23.760
Like, you need to--
01:07:23.760 --> 01:07:25.800
the movement needs to be right,
01:07:25.800 --> 01:07:27.760
the timing needs to be right,
01:07:27.760 --> 01:07:30.040
the space needs to be right,
01:07:30.040 --> 01:07:32.240
and then beyond that,
01:07:32.240 --> 01:07:34.920
whatever attention
you have left,
01:07:34.920 --> 01:07:39.760
you can--you can give
to those photos,
01:07:39.760 --> 01:07:42.800
and, yeah, we\'d see them,
01:07:42.800 --> 01:07:46.840
and especially in that slow part
that we were practicing today.
01:07:46.840 --> 01:07:50.800
Like, I don\'t know if it comes
out exactly the same anymore,
01:07:50.800 --> 01:07:54.080
but you would get into a pose
and maybe you would say,
01:07:54.080 --> 01:07:55.240
\"Oh, here\'s the cow now,\"
01:07:55.240 --> 01:07:57.320
and then you\'d get into
another pose and you\'d go,
01:07:57.320 --> 01:08:01.160
\"Oh, right, that\'s when
I should be seeing this image.
01:08:01.160 --> 01:08:02.480
The mailbox.\"
01:08:02.480 --> 01:08:04.400
And, uh, yeah,
01:08:04.400 --> 01:08:09.720
we used them as cues
in that way for some of it.
01:08:09.720 --> 01:08:11.280
-Interesting.
-Yeah.
01:08:11.280 --> 01:08:14.720
Yeah, that\'s very special,
to be able to actually--
01:08:14.720 --> 01:08:17.280
I mean, you feel like
you\'re--yeah,
01:08:17.280 --> 01:08:19.160
you\'re taking part
in an artwork,
01:08:19.160 --> 01:08:22.040
which is a dance,
but there\'s this other artwork
01:08:22.040 --> 01:08:25.000
that you\'re sharing
this space with.
01:08:25.000 --> 01:08:26.800
Just fantastic.
01:08:34.720 --> 01:08:36.960
Yeah, how do we--
01:08:36.960 --> 01:08:39.600
-How do we go out?
-Test.
01:08:39.600 --> 01:08:40.840
Oh, we go this way.
01:08:40.840 --> 01:08:42.880
Okay, is that, Carolyn?
01:08:42.880 --> 01:08:44.520
Yeah.
01:09:24.040 --> 01:09:26.320
(slide projector clicking)
01:12:02.720 --> 01:12:06.520
(whispering)
01:12:22.440 --> 01:12:23.800
How was it?
01:12:23.800 --> 01:12:25.080
Good.
01:12:25.080 --> 01:12:26.600
Yeah!
01:12:26.600 --> 01:12:28.040
(unintelligible)
01:12:28.040 --> 01:12:30.400
...with all the lines...
01:12:30.400 --> 01:12:33.760
Yeah, are we gonna have
all them--all these marks?
01:12:33.760 --> 01:12:37.880
-Because we can see them...
-Too many marks.
01:12:42.280 --> 01:12:46.400
Uh, how do you say,
they improve--
01:12:50.880 --> 01:12:54.240
Really, it\'s like
every big movement
01:12:54.240 --> 01:12:56.120
is amplified.
01:12:56.120 --> 01:12:57.480
It\'s very nice.
01:12:57.480 --> 01:13:00.200
To me, the fact that
01:13:00.200 --> 01:13:03.400
we have a group of dancers
01:13:03.400 --> 01:13:07.360
who are almost in white tulle,
01:13:07.360 --> 01:13:10.000
we\'re almost wearing a tutu...
01:13:10.000 --> 01:13:10.640
(chuckling)
01:13:10.640 --> 01:13:15.160
...but it\'s re-imagined
by Robert Rauschenberg.
01:13:15.160 --> 01:13:17.160
We have a decor,
01:13:17.160 --> 01:13:19.400
but it is black and white,
01:13:19.400 --> 01:13:21.960
and it is...
01:13:21.960 --> 01:13:25.040
some very harsh images,
01:13:25.040 --> 01:13:27.160
harsh, strong contrast
01:13:27.160 --> 01:13:31.160
of, um, sunshine and shadow
01:13:31.160 --> 01:13:34.840
and metal texture with grass
01:13:34.840 --> 01:13:37.680
and waste and animal
01:13:37.680 --> 01:13:42.720
and things that you
would not ordinarily associate
01:13:42.720 --> 01:13:43.760
with a beautiful ballet
01:13:43.760 --> 01:13:48.000
are there sharing
the visual space.
01:13:48.000 --> 01:13:50.960
The fact, to me,
that the curtain
01:13:50.960 --> 01:13:54.320
that will be
in front of the stage
01:13:54.320 --> 01:13:56.440
before the ballet begins
01:13:56.440 --> 01:14:01.080
will have this draped,
ornate decoration on it,
01:14:01.080 --> 01:14:05.440
it\'s the historic curtain,
and the historic curtain rises,
01:14:05.440 --> 01:14:08.640
and then you see
a black and white stage,
01:14:08.640 --> 01:14:13.160
and you see movement
that is full of sweep
01:14:13.160 --> 01:14:15.720
and punch and loft
01:14:15.720 --> 01:14:19.080
and the unexpected.
01:14:20.760 --> 01:14:23.760
That\'s just delicious.
01:14:23.760 --> 01:14:26.480
I find that completely,
01:14:26.480 --> 01:14:30.400
you know, scrumptious.
01:14:42.840 --> 01:14:45.680
(slide projector clicking)
01:17:01.200 --> 01:17:02.960
(applause)
01:17:02.960 --> 01:17:04.120
Yay!
01:17:04.120 --> 01:17:06.680
Woo-hoo!
01:17:06.680 --> 01:17:08.880
Yay!
01:17:11.200 --> 01:17:15.440
Okay, um, thank you very much.
01:17:17.920 --> 01:17:21.320
It\'s a little bit
of a different thing--
01:17:28.800 --> 01:17:33.040
No, it disturbs me,
those moments, it\'s very...
01:17:53.920 --> 01:17:57.400
She said you\'ll fix
every problem.
01:17:59.200 --> 01:18:00.800
Yeah.
01:18:00.960 --> 01:18:03.920
The curtain,
which I think is fabulous.
01:18:03.920 --> 01:18:05.280
-With \"Decoy.\"
-Oh, yeah.
01:18:05.280 --> 01:18:07.480
Like, before \"Decoy\" comes on,
01:18:07.480 --> 01:18:08.600
this is what we\'re looking at.
01:18:08.600 --> 01:18:11.800
-Isn\'t that cool?
-I like that, I like it.
01:18:11.800 --> 01:18:12.920
So, I\'m gonna go out there.
01:18:12.920 --> 01:18:15.320
-Okay, I\'m gonna follow you.
-I\'ll see you later.
01:18:15.320 --> 01:18:17.040
Oh, you\'re gonna come
out there, too?
01:18:17.040 --> 01:18:20.400
I don\'t know how you
go back to the...
01:18:20.400 --> 01:18:21.440
Uh, this way.
01:18:21.440 --> 01:18:25.520
Yeah, but how you get backstage
after you\'re here.
01:18:25.520 --> 01:18:27.720
Like, isn\'t there a...