Hold Yourself Together
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Direction & choreography: Meredith Glisson
Performance: Meredith Glisson, Sara Procopio & Bianca Rutigliano
Performance: Meredith Glisson, Sara Procopio & Bianca Rutigliano
April 2019 - Movement Research at the Judson Church
I just wanted to step away and cry then come back to say something.
I had a dream that I saw you again. You were at the house next to the fireplace. The police were there.
Some nights when you weren’t home, I’d wait for you by the window. It would be dark. But you didn’t come and I went to bed.
But in my bed later, I saw the lights of the car touch the window shades and the light would whirl from the left to the right as you turned the steering wheel. I would hear the brake, the slam of the door. Then the muffled rustle in the house.
I was asleep by then.
In the morning you were dead. Dead to the world as they say. Asleep no sound. And soon to my knowledge no breath.
I had a dream that I saw you again. You were at the house next to the fireplace. The police were there.
Some nights when you weren’t home, I’d wait for you by the window. It would be dark. But you didn’t come and I went to bed.
But in my bed later, I saw the lights of the car touch the window shades and the light would whirl from the left to the right as you turned the steering wheel. I would hear the brake, the slam of the door. Then the muffled rustle in the house.
I was asleep by then.
In the morning you were dead. Dead to the world as they say. Asleep no sound. And soon to my knowledge no breath.
As my artistic practice falls in between the disciplines of contemporary dance and theater, I take an interdisciplinary approach to experiment with many forms and methodologies in order to create alternative ways of how a work can be interpreted both by the performer and viewer. I often work from archetypes and cinematic images to study actions of human behavior and how one places oneself within a situation. My current research is focused on the female figure as she confronts herself within circumstances and tries to find opportunities to renegotiate her position. By framing the female figure within certain viewpoints and proximities to the spectator, my work becomes situational as the figure is in pursuit of an action. Choreographically I play with shifting the configurations of who and how one is viewed while aiming to give agency to the female figure to rearrange herself.
Hold Yourself Together continues to focus on how the female figure negotiates her multiple self within specific positions as she experiences the act of holding. I am interested in the fine line between when the hold takes control over the body and when it becomes counter active turning the hold into a movement, a tremble for instance. Often at times, the body holds itself to stabilize within a certain circumstance; grabbing onto something, tensing up or sustaining within a memory. The idea of holding onto something that has disappeared and no longer tangible, is what interests me as well as the mechanisms used to survive within the imaginary space of the past.
Hold Yourself Together continues to focus on how the female figure negotiates her multiple self within specific positions as she experiences the act of holding. I am interested in the fine line between when the hold takes control over the body and when it becomes counter active turning the hold into a movement, a tremble for instance. Often at times, the body holds itself to stabilize within a certain circumstance; grabbing onto something, tensing up or sustaining within a memory. The idea of holding onto something that has disappeared and no longer tangible, is what interests me as well as the mechanisms used to survive within the imaginary space of the past.