Jongerenopera 'In bocca al lupo' - DAY 5 - Getting the moves right

Vrijdag 28 augustus 2015

As I silently enter the top studio, Luigi and Maayan are just getting started on Maayan' s solo ‘Gelosia’ (Luigi Rossi). ‘Gelosia’ describes the torment of a lover who is struggling between love and an irrepressible jealousy that sneaks into his heart like a serpent. Luigi and Maayan search and experiment together in order to find the right bodily expression to go with the singing. 

As Maayan is - without exaggerating - quite expressive, for him, the most important task is how to make his movements smaller, more subtle. While repeating the song in order to get ‘the moves right’, I see gestures of cats, serpents, rejection, … pass by until Maayan gets totally torn by this furia. It’s coming from everywhere, around him, inside him, … until it forces him to the ground, like melting ashes. Later I can’t avoid laughing when I hear this pile of melting ashes say: “Everything is so gooood down here”. Nice. Luigi underlines the importance of not describing too much with gestures: Maayan should be able to give the impression, for example of a cat, but not try to act as being a cat. Also, as this scene takes place in the context of an audition, he should be able to be himself as a person and combine this with the level of an audition. In this way – trying to evoke a real force through real panic - the director hopes to reach a stage in which technical mastery and a fragile authenticity will coincide.

When the rehearsal comes to an end, I learn that they’ll also be working on a wolf improvisation and a scene with headphones next time. Maayan will be given headphones, and through this headphones he ‘ll get specific instructions in order to get him totally lost in that particular dimension. Nothing will be prepared, exactly on the moment they’ll see how it will work. I ‘m curious to see how that’ll turn out… 

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