March12013

Dramaturgy and Time

Hi Friends! Check out this piece that I wrote for STANCE- Velocity Dance Center’s Online Journal of Choreographic Culture!

December182012

Hello All!

So obviously I lied when I said there would be more posts from me soon. I did not take into account Cornish midterms and finals when I said that. BUT NOW:

EXCELLENT NEWS! I have a dance dramaturgy internship at Velocity Dance Center in Seattle, WA!!!! I’m insanely excited, despite the fact that my supervisor and I have very little idea of what I’ll actually be doing. I DON’T CARE. IT’S WONDERFUL AND I LOVE IT. So, that being said, there WILL be updates about that. 

Maybe I can post some articles that I’ll be writing for them here as well. 

All right, more later (I have learned my lesson about specific time-frame-promises)

Lexi ;)

November172012
This reminds me of Fefu and Her Friends. 

This reminds me of Fefu and Her Friends. 

(via betweenthetreesandme)
November122012

Weekend of Dramaturgy

I have spent the weekend planning for all the new projects that I have coming up and working on the closing documentation for Fefu and Her Friends. Just started the paper that I’m writing about the Fefu process- can’t wait to see where that goes! More soon!                                             

November102012
This photo is of my mentor John Wilson and me while we were in Atlanta for the LMDA Annual Conference. It is also on the LMDA website on there Early Career Dramaturgs Page: http://lmda.org/whoweare/earlycareerdramaturgs

This photo is of my mentor John Wilson and me while we were in Atlanta for the LMDA Annual Conference. It is also on the LMDA website on there Early Career Dramaturgs Page: http://lmda.org/whoweare/earlycareerdramaturgs
6PM

Response to Advice Written in a Director’s Handbook

“The director and the dramaturg are in tune, and each knows more or less, what the other will say.”- Jon Jory’s Tips, 64. 

Sorry. I have to disagree with this. It is true that the dramaturg and the director should be in tune with each other if they have a good dialogue and relationship, however, the idea that they each know what the other will say, even in a general sense, is absurd. How can there be a dialogue, a conversation, or any learning or growth in the director/ dramaturg conversation if each knows what the other will say? The dramaturg is there in support of the director and company as they form ideas about the production. If both parties know what the other will say, nothing new can be born of the conversation. In terms of research the director and the dramaturg can/ might be on the same page, if the director has been avid in his/ her research. In the shows I dramaturg I spend a lot of time listening to my director and trying to understand on the spot because I don’t know everything they’ll say, and the same goes for them listening to me. 

5PM
“The most violent element in society is ignorance. ” Emma Goldman
November32012
The Dali Flowerhead This is a character that our company added into Fefu and Her Friends. She is taken directly from the works of Salvador Dali, such as A Chemist Lifting With Extreme Precaution The Cuticle of A Grand Piano and Three Women With Heads of Flowers Finding the Skin of a Grand Piano on the Beach. Her image served as a key inspiration to our director.  As a character is a mirror. She reflects the inner being of other characters. She is the parts of them that they love, the parts they hate, the parts they didn’t know existed. She is a guardian. She is a judge. She is a temptress. She is a mother. One audience member characterized her as ‘a perfect metaphor for how men see women.’ I was lucky enough to get to play her for the run of this show (that’s me in the picture). I want to say that she is indescribable, but really she is never just one thing. She is everyone and everything.

The Dali Flowerhead

This is a character that our company added into Fefu and Her Friends. She is taken directly from the works of Salvador Dali, such as A Chemist Lifting With Extreme Precaution The Cuticle of A Grand Piano and Three Women With Heads of Flowers Finding the Skin of a Grand Piano on the Beach. Her image served as a key inspiration to our director. 

As a character is a mirror. She reflects the inner being of other characters. She is the parts of them that they love, the parts they hate, the parts they didn’t know existed. She is a guardian. She is a judge. She is a temptress. She is a mother. One audience member characterized her as ‘a perfect metaphor for how men see women.’

I was lucky enough to get to play her for the run of this show (that’s me in the picture). I want to say that she is indescribable, but really she is never just one thing. She is everyone and everything.
2PM

The Fefu and Her Friends Dramaturgical Installation. It is a found object sculpture that portrays an image of distressed femininity while providing contextual information. Created by Lexi Hamill.
2PM
“I don’t understand why people write their memoirs at the end of their lives. I write my memoirs first and then I live them.” Salvador Dali (via palariaviolet)

(Source: lechapeauviolet)
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