June 24, 2018
Rehearsal Report: ”You can think of yourself as a collection”
In early April at a rehearsal for RoseAnne Spradlin’s latest piece, tentatively titled Y, eight dancers walk onto black marley from all directions of the room. They lightly settle into an insular posture of group repose, and then they set off.
The studio shades are drawn, the city peeks in, an industrial soundtrack made by collaborator Glen Fogel accompanies them. The ambience is composed of rehearsal recordings - footfalls and running. Spradlin tells me these percussions are cut with nature sounds “like birds and people walking over large rocks and gravel,” all aiding and abetting the effect of arrival. It’s a kind of inversion of alien visitation (how beautiful that humans may visit themselves) here in this pristine rehearsal room, for the common myth holds that extraterrestrials can best show themselves in the throes of nature. But in this case weirdness is a collection of purposeful bodies moving in a space arbitrarily demarcated for the purpose of art. Against a gritty and compressed churn, I find myself paying attention to the dancers’ shared agreement with the floor, how mysteriously anchored their limbs seem to the ground, and if one body takes off another will bring it back down just as quickly. It is hard to locate a romantic feeling in the hive, and maybe that’s because all the feeling has been turned inside out - it is not a vocabulary of coyness - or rather, returned to its original location: the surface of the skin. To be touched is not just a metaphor; contact creates response in sequences flowing, acute and unprecious.
Approximately 20 minutes in, the flock begins to lap the room clockwise while one dancer, Athena Malloy, stands against a barre observing the herd. It could be the emergence of an opinion or a personality as she slowly enters the current and slumps to the floor; the runners form elliptical orbits around her person that taper into a still tableau. (I later learn that my narrative imposition is a product of chance, Malloy nursing an injury that day.) Crunching sound gives way to birds as the dancers look up and out. Connor Voss, in a tye-dyed shirt and shorts that bag over his skinny legs, walks downstage, obscuring the group portrait, punching the air once, then twice, and walking away. The camera is tilted upwards to face the light grid, the movement complete for now.
This is only a teaser, Spradlin tells me - the four repetitions composing the structure of this material have since doubled to eight - but as a sketch it begins to hint at the surprise theatrics I have come to love in her dances, achieved through deeply roundabout yet highly incisive sensorial explorations. Looking at this footage, I think about visiting the studio a month prior, the company just beginning its work; a newly formed collective, many of the dancers are entering Spradlin’s process for the first time. Waiting for the choreographer, who has been delayed by an appointment, I sit against the wall and watch them warm up for a long time, each dancer absorbed in a wholly idiosyncratic dialogue with their own body. For some, stretching dissipates into collegial conversation, while others remain focused on what is physical and unobservable to my eye.
Spradlin enters and assembles the group. I turn on my tape recorder as she starts to talk with the company, beginning with the simple premise: “You can think of yourself as a collection of cells,” tracing along one dancer’s body the potential of a sideways consciousness. “You don’t have to make any of this happen, but this idea of lateral lines, like fish.” And they do seem to form a school, in their youth and mass, but there is nothing pedantic about Spradlin’s tone, which is more akin to invitation than dogma. As a witness to this methodology of finely grained haptics, I have the uncanny sensation of having been here before, reminded of watching Spradlin in technical rehearsal for g-h-o-s-t-c-r-o-w-n (working title) at New York Live Arts in 2014, where once again she was in close proximity to a performer’s body, using just the slightest amount of pressure from her hands to jump start a memory of what the performer already knew so that they could make a difficult turn. “You just have to feel it,” she said.
In correspondence, I ask Spradlin about the title of the piece and she writes: “Early on, I was calling the new work star child (moving over the ground). Around APAP time, I just decided to change the title to Y. My last piece was called X and so far it's been getting good reviews and feedback, but I haven't yet got any touring for it. I guess it feels less like I'm abandoning X if I call my next work Y …” I pay attention to the language here, the sense I am already getting of extraordinary creatures or changelings being embodied in Y, and how its seeds were planted in the precursor, a work for three bodies that premiered at the Joyce in 2016. X seemed to propose the dancer as hungry mole, eyes located in knees and backs and arms. Dislocated vision reinvented ballet barres as features of a survivalist gymnasium, everything made strange, wondrous, and more hypnotically rigorous by virtue of a world gone askew. I guess that world is always right here too, even as it eludes us outside the studio walls. Of course, I wonder what Spradlin is looking towards as the latest work’s gaze shifts into eerie distance... every work as odd as a newborn coming into ambulatory power, fierce and preternaturally wise, perhaps mostly so when sidewise.
Jess Barbagallo is a writer, director, performer, arts journalist, and teacher based in New York City. Playwriting credits include: Not for Resale (in collaboration with Lex Powell and the NYU Drama Therapy program); Melissa, So Far; My Old Man (and Other Stories); Sentence Fetish; Joe Ranono’s Yuletide Log and Other Fruitcakes; Karen Davis Does …; Good Year for Hunters; Room for Cream: A Live Lesbian Serial; Saturn Nights; and Grey-Eyed Dogs. He is currently acting in Harry Potter and the Cursed Child at the Lyric Theatre.