A.
My
response could be my audience or could be my participants. Like I said for the Square Dances, I wanted to make it for
the women, give them a sort of gift. Though I feel like that piece is a gift
for the women as much as it is a gift for those who see it. I would say the
same for Common Dance – I am trying
to give something to the participants which I think is a little bit different
to when you work professionally, although I try to do that for any dancer I
work with, professional or not. But you could argue there are some subtle
differences there. It is about the kind of experience you want to give them, I
really believe that. Having been a dancer myself and dancing for someone like
Sue MacClennan, it is such a gift to
be in someone else’s piece, to interpret that work, to discover it and to find
a way to let that work come through you. I loved that opportunity, so I try to
give all the dancers I work with and chance to find themselves in the work but
to also find the work in them.
Equally,
for the audience… I think it would be naive of me to say it’s for ‘everyone’.
It is for anyone who finds it. Which is why when I work outside or for films on
BBC I have no idea who turned the telly on then and caught it! I like that side
of it. Having said that, there are audience I wouldn’t go out and make work for
because I don’t feel I would get through in the same way. I don’t think my work
is perfect for a teenage audience in a very deprived area. I don’t know whether
I can speak to them, I think I’m too far removed. Having said that I’d love it
if they were in the audience!
Who’s it
for? It’s a very good question. It sort of depends on each commission, so Square Dances felt very much like it was
for Londoners, for people who’d made the journey. I wanted to give them
something in the heart of London. Something like The Suchness of Eddy and Henny I knew was going to go to more dance
festivals, so I knew I was going to be playing to dance audiences in a sense.
So that was made with that thought. I’ve got to make a work of art, as to
whether people are trained or not. I don’t know whether I’ve quite answered
that! Good question.
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