A truth that eludes even the face

We were asked, today, to embody the narratives we had created to contextualize the movement of Sokolow’s Daydreams.

After performing the piece once for our instructor, she questioned our motive. Our embodiment of the story had not looked genuine. Instead, it appeared forced. Deliberate. Contrived.

Immediately, as a cast, we contested. The intention was real! We had worked hard to develop and integrate the emotions within our narratives to the choreography, giving dialogue and imagery to each extension, port de bras, even the standing and sitting from the chair.

But what we, as performers, had failed to do was trust the innate emotiveness that lives within the body. Our over zealous expressions, the contorting of the curves of our mouths and squinting of our eyes had actually taken from the movement. We forced the movement into a realm of the detached and the fake. We had done the reverse.

There is a truth to the body that eludes even the face.

I think, it manifests in trusting the small, somewhat unseen things. The body is incredible in its ability to emote.

This happens all the time in regular, daily conversation. A person can be thinking one thing, yet saying another. Their back hunches or their arms cross. They tilt their head slightly at an angle or clutch their palms in fists. And immediately, without utterance of a single word, we, as another party in said conversation, receive something communicative.