Once some ideas are deemed worth starting with, the group moves into the studio and starts to work.  The dancers lead the way with studies (essays, initial attempts to solve the problems) of the movement qualities under consideration.  The musicians follow the movement.

At this stage, discussion follows each study.  Was this a good problem to tackle?  Did we solve it?  What did we do?  How did it feel?  What would we like to do differently?  Do we want to throw all that out and start on another tack or is there some part of this we want to work on some more?  Do we want all the performers to do all of this or do we want some solo variations?   Were directions indicated to us that had not been anticipated before we started?  The answers to these questions lead to further studies.   The process of composition is launched!

If there are properties, sometimes art objects designed specifically for the work, we must use them in rehearsal until we can do so skillfully and artfully.  The costumer has been in on all stages of the composition and at some point, we begin to work in costumes instead of rehearsal clothes.

There comes a time when we find that we have decided on which problems we want to work on now and we are solving the problems in much the same way each time because the solutions we have discovered are satisfying to us at the time.  We may ask someone not involved in the creative process to let us know what they think.

Though we always know that this work is leading to performance, somewhere along the way, we begin to get it ready for the space where it will be performed. 

The actual performances are just others in the series of possible solutions to the creative problems we have chosen.  As serious professionals, by the time we show the work to the public, we are confident of the artistic merit and technical quality of any of the possibilities that might come out on a given occasion.  It is true though, that people who see a performance on different dates might not see the same things.

What this kind of work delivers is great intensity of performance.  We must be focused even more than most performers on our own work and on our collaborators.  We are in a dialogue that many audience members find themselves drawn into.  Our kind of performance has spontaneity and freshness and immediacy that grow naturally from our way of working together.

We are also equal partners in the creation of every performance and audiences sense that as well.  We don't just talk about respect for all human beings; we demonstrate one aspect of that every time we perform.

Our collaborative composition is very special.

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