Pamela Tzeng - Dancer

Looking back at inlayers…

The entire online interactive component of this process was a unique experience and at times overwhelming…in the amount of work and energy it took to conceptualize and define in writing all the resonating feelings, thoughts and questions that were arising during rehearsals. For myself, it turned out to be a great tool in that it enabled (we could also say forced) me to continue to confront my experience of consumption and reflect on subtle unconscious actions at times of emotional resistance to my story.  Audience commentary also facilitated the process as it provided another force or pressure, to peel the surface layers of what we were exploring. Kaelen’s interpretation and documentation of rehearsals gave an alternate perspective to work. I really appreciated the opportunity to visually re-live some of the fleeting moments that were so integral to the development our relationships and evolution of the material.  It helped to ground and further define the work as we went into production week.

Once in the Ant Hill Building, the piece found breath and became easier to journey from beginning to end of the piece. The space became our little world, Kaelen became a fellow organism and interpreting was to just live presently in our stories.  Performing and interacting with the audience on show nights gave a whole other level of information and surprise to the piece – authentic connections with strangers about consumption and curious energy helped to go further into the experience.   Overall I would say that much was achieved in five-weeks, although I feel that we were just ‘getting there’… to a place of potential to get juicier meatier with the work, deeper research and perhaps a dramatic shift in the piece.

It was a blessing to be part of this project and to connect and share with everyone physically involved in the pieces as well as those who contributed our journey online to create SAMEplayer/differentSTORY.