Inspiration – Starting with the Movement
by Carol Hess
1. Where have your ideas come from?
Lots of places. I usually start with movement and go from there, but also
I have explored specific issues or media with movement
2. What approaches have you used to flesh out your ideas?
I work on movement in the studio and come up with enough to make a start
on a piece.
3. Once you received an inspiration, what were some of your next steps?
Find dancers and start working with them.
5. How have you handled an inspiration that seemed too big to tackle through movement? For example, refine it, abandon it, etc?
I have done both of the above. I will put it aside and come back to it.
Often I can see a solution with some distance. Other times, if something
is not at all working, I will let it go.
6. How many of us have these magnificent ideas in our heads for pieces that never see the light of day? What advice do you have for those who find it hard to get started?
“Start anywhere and keep going.” (quote from Bob Dunn)
7. In translating your inspirations into movement, have you found any limitations in movement’s ability to fully realize what you’re attempting to communicate? Or, have you felt that as a choreographer you were limited in your ability to access movement that fully realized your inspiration? How did you manage that hurdle?
There are always limitations. Usually because the choreographic
imagination sometimes does not match the reality of what the human body is
capable of. I might ask the dancers to try something and then realize
that someone would actually need to have an arm about twice the length of
a normal one. When that is the case, I work to find something close to
the image I had.