We sat down with Brian Brooks, as he nears the end of his Creative Residency with GroundWorks, to ask him about his process and specifically about his work with our company. His new work will premiere October 11 & 12, 7:30 pm in the Allen Theatre in Playhouse Square.
GW: In accepting this commission, what kinds of things made you think it might be possible for you to work with GroundWorks?
BB: The structure of the company has intrigued me from the beginning, both in its mission and location. The company feels like a magnet – small and specialized, drawing us all in from across the country with its energized dancers and repertoire. The proficient dancers seem to speak all languages, which is inspiring to someone like myself that relies on collaboration and invention in the studio.
I love that there’s an ongoing commitment to creating new dance on the edge of Lake Erie. The surrounding geography and community always influences me as I choreograph, and I’ve been curious about the perspectives here, and that gorgeous, serene horizon. It’s also nearly impossible to maintain a dance company anywhere, making the decades-long track record of GroundWorks a feat in itself.
GW: After your first week, what are some of your impressions? Any surprises, challenges?
BB: You know those moments where you enter a room for the first time, where you meet someone for the first time, and it feels familiar, as if you’ve known each other for years? It feels as if we’ve picked up on something we started long ago. This has allowed the process to begin at a rapid pace, and for all of us to contribute without hesitation. It’s a bonus when there aren’t any obstacles in the way of creation.
My challenge is always balancing timelines. The pace of imagination can be at odds with a four-hour rehearsal session.
GW: If you can, describe some of your starting points in this initial phase of your process?
BB: There’s a constant destruction in dance, as each moment created dissolves just as quickly. I’m watching that disappearance of movement just as much as its formation. Our investigation begins with an unsuccessful effort to capture each position. To capture each dancer, each connection. As we begin, I’m placing value on the loss of what we make.
GW: Is the process you are undertaking with GroundWorks different than how you normally work? If so, in what ways?
BB: The intimacy of GroundWorks’ five-person ensemble is different than a 52-member ballet company. It allows me to consider the individual in relation to a much smaller group, and allows me to have more one-on-one time with each dancer.