Karen
Christopher

Untangling in front of you

After performing our new duet miles & miles at Chisenhale Dance Space in July I became transfixed by a coule of questions: How did we untangle in front of you? How could we trust it was something to watch? Isn't untangling  knot something about which you say "I can't do this if I'm watched"? The untangling of a rope or string or other line or set of lines can be one of the most panic inducing dilemmas there are. Why would I want to play it out in real uncontrollable time in front of an audience.

The untangling is an unquestionable by-product of the forces and concerns we are laying out in miles & miles. Something about the attempt at linearity or organisation of a sense of life and its actual uncontrolability is at the heart of our performance work.

To reorganise a stream of consciousness unleashed into the world merely by being alive is almost an impossible task.

Undoing a knot is the kind of thing that might produce the declaration (even to friendly onlookers): I can't do this in front of you.

The pressure of another's gaze is unsettling to the mind of the untangler. Furthermore, what might be streamlined for one person to sort out becomes precarious with two as each sees the knot or tangle from a different point of view. The binocular aspect is just enough to tip the apple cart. But as we do work in tandem we must exercise the capacity to refrain from turning on each other like over-heated rats in a crowded cage. And this is how we kept our nerve, by knowing there is a future to survive together.


. . . this will eventually be completed as an essay including (but not limited to) the following sections: the whole body through the loop, the performance of confidence & optimism, the technical terms we feigned to make it seem we were in control, and the vicarious thrill of our ultimate victory.

Photo: Manu Valcarce Photography 2016

Tags: miles & miles, duet, Chisenhale Dance Space

Posted on Sunday, 7 August 2016 by Karen Christopher

finding the end

this is an excerpt from writing done during our Roehampton DTP residency to finish work on the performance duet miles & miles (this past January)—and we still aren’t really finished—the next deadline is coming up and is backed up by an imminent performance (7th & 8th July 2016, Chisenhale Dance Space)

A resolve has settled in, both a kind of clarity about what has to be done today and a realisation of the limitations a day includes, here, with us, in this room. We are finishing. We are finishing finishing. There’s a special setting on my brain for when the end is near. Maybe there’s more than one option for this setting. Maybe one of them is a kind of panic which produces wild-eyed blindness. Another is a wistful acknowledgement of the limits we face. We have only come this far thus far and the likelihood that we can see the edge is becoming more and more real. It is possible that the unknown possibilities—including dizzying brilliance as well as dim disappointment—are blinking out like spent candles. It is in this moment that we, giggling, came upon a plan to tell ourselves everything was still possible. But how do you fool yourselves when even imagination feels bounded by reality, even if that reality is one manufactured by yourselves?

Let us say we have determined that our show is using a central metaphor or analogy or visual image, surely the possible endings must come in line with the trajectory that springs from this central post, this guiding principle . . . or maybe anything is possible.

Tags: University of Roehampton, DTP, Sophie Grodin, residency, miles & miles, duet, Chisenhale Dance Space

Posted on Tuesday, 10 May 2016 by Karen Christopher

the ebb and the flow of the way it goes in these final days

Leading up to our premiere (Control Signal, preview 3rd October in Bristol at Wickham Theatre, University of Bristol and then premiere 10th & 11th October at Chelsea Theatre in London) we are taking it fine, smooth, and with raggedy edges that scratch what itches and itch what doesn’t. It is easy and isn’t easy. It is fast and slow at the same time it is trying to hold a polyrhythm in your head. I hear that we are finishing. I hear it every morning. I hear it before I go to sleep at night. We are fact finishing but we are not screaming into the finish line, we are stepping. The steps high and irregular early in the past week. We stumbled at a few steps which were just ever so slightly misjudged. Forgot this, didn’t enjoy that. It was better the second day. And we tap-danced into the third day which felt like a dream dotted with laugh. So it goes in fits and starts. Adjustments to new versions. Long discussions about the pause or not the pause and this table is not going to work no it won’t well if it has to no, actually, not even then.

I’m certain it will feel like a free-fall when we finally crack the ice on this one but we will be ready and not forget to pull our rip cords and remember to look around us on the way to the ground. I think we are lined up to enjoy it.

Tags: Control Signal, duet, Sophie Grodin, Chisenhale Dance Space, Chelsea Theatre, Wickham Theatre, University of Bristol

Posted on Saturday, 21 September 2013 by Karen Christopher

Chisenhale week in which we remember that real life continues even now

The crime that we didn’t commit, that we committed not to commit, is to stop living while we make this piece, even in the final phase in which push is coming to shove. If we are squeezed between a rock and a hard deadline it think we’d just as well get comfortable. If it is close, we’ll just cuddle that cut-off.

Working at Chisenhale was great. We were in the main space so we had depth of space and beautiful sunlight coming in through the windows. We also had jackhammers. It was time to replace that old cement with bricks outside in front of the building across the street. This was our sound track while we worked with Boris Hauf who created some excellent sound for the piece. Litó Walkey worked with us as an outside eye and helped corral our thoughts and aspirations into a more minimal package. She helped clarify the images we were working toward.

It all happened as we hoped: some time for showing the guests artists what we were doing (had been doing or thought we were doing or hoped to be doing), some time for them to explore the city and think about us working without them in the studio, some time for us to work without them, some time for them to come back and say we missed you yesterday and thought about you as we wandered the city, more time to work, some time to have a meal together. I didn’t sleep enough but otherwise, it was great. The piece has been combed and parted, we got the extra bits out. Now we just have to do better what we’ve got left. We’ll work it and run it 6 times before we go to Bristol and then it will be complete.

Tags: Chisenhale Dance Space, Control Signal, duet, Litó Walkey, Sophie Grodin, Boris Hauf

Posted on Saturday, 14 September 2013 by Karen Christopher