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Christopher Hampson,
Choreographers Diary, Pt 3 | |||||||
Christopher Hampson, a dancer and young choreographer with ENB, is keeping a diary for us on the creation of his next piece. The premiere is in Truro in April 1998.
Here is a link to the previous column in the series. Sunday 11th January 1998 The pace has certainly quickened since my last instalment: rehearsals started just before Christmas for my ballet which now has a score, designs and a title. At last I'm able to start realising ideas that have been stewing in my head for months. My first few rehearsals were with the men, as Nutcracker is particularly unkind to women. I was very fortunate to get all the dancers I originally wanted, and after the "double show week" marathon - 12 performances in 6 days - I was able to work with anyone I wanted to. Considering the amount of work they have over this Christmas season, I can only imagine that the dancers energy comes from being able to dance to something other than Tchaikovsky (Sleeping Beauty will soon put paid to that). Working with people rather than ideas at long last, has reminded me that no matter how much I have conceived the piece in my head, the input and cooperation of dancers can change my focus completely. Its like starting to tidy a room that you have put off for three months. I surprised myself at how quickly I got through the two sections I started with. Part of me wants to share the excitement of the work that I have done so far, another more cautious part makes me very nervous of opening the oven door before the cake is cooked. Or opening the vintage Bollinger for no reason at all, a frighteningly real experience from my recent past which I intend never to repeat. Thankfully Percy Grainger seems to have been as inspiring to Fido, my designer, as he was to me in the first place. The designs for the backcloth and costumes are just what I expect from Fido - fresh, simple, clear and vibrant. I hope his cake is cooked The biggest headache this month apart from the hangover (see above) has been giving this ballet a title. What a nightmare this seemingly simple problem turned into. In the end I resorted grudgingly to brainstorming (my evasive response had been "don't worry, something will come"). After having a good laugh about, and eliminating all the obvious no-nos like "Parallel Dimensions", "Contort & Continue" or "Symphonic Flagellations", and discussing the psychosocial implications of The Title in Modern Art, we went through the alphabet concocting obscene word-collocations. In desperation, my friend asked me: "If I hadn't seen you for three years, and I asked you what you were working on, what would you say?" "Ask Mystic Meg" I growled. Its the question that arts sponsors often want to know on their application forms for grants. They require a detailed outline of the intended "dance piece" and any additional notes of interest. If I were able to put my ideas into words, I'd write a book about it, not create a ballet - they might as well open the curtain and show the public the application form. I did of course find a title. It was the one that I had originally thought of four months ago. The words "reinventing" and "wheel" spring to mind. Well, after a productive month*, I think I shall settle down to a good book and pot of tea**, maybe a bath later with some essential oils***. There's some herb and lentil bake**** left over from yesterday, and a good play on radio 4*****. Early to bed, finish my book******, and get up bright and early******* for my first day of well-earned rest.
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