INTERVIEW WITH BROOK NOTARY, Creator of The Pulse Project continued from Part 1...
Judging from your impressive creative team (highly trained & experienced performers, multi-award winning set designers and major motion picture stunt coordinators) The Pulse Project seems to be aiming for large scale production. How big are we talking? What type of venue do you imagine performing in?
This team is amazing!! It took me 2 months to get the guts to e-mail David Korins. I am such a huge fan and we are so lucky to have such an incredible line-up on the creative side. We've got top notch talent. I don’t see how it would work any other way. I am also thrilled that I will be working with Terry Notary, my crazy-talented big brother, on this project... He will be movement coordinator for the Parkour artists. Not only is he movement coordinator for tons of blockbuster films, but Terry also brings a bit of pole experience to the table as a veteran Cirque Du Soliel performer and solosit in the Chinese Pole Act in Mystere for 5 years. He has a built-in knowledge and appreciation for the art.
Regarding the venue and “how big” -- We're not answering this question quite yet. David Korins and I are still brainstorming just how big we want this production to be. What we need is a producer -- the right one. This partnership is essential to the success of the show and I will not rush. As soon as that position is filled we are ready to go full force into auditon and production mode.
Getting the core six dancers ready on the pole and developing that material was the big leap and I am so happy with the outcome.
What stage are you at in the production process? How soon will an audience get to see what you've been working on?
We are still in development so I can’t give a definitive time table on when we will be open. We are very excited about what we have so far but don't want to rush it. There are so many variables on when you can open; from getting the right theater to when that theater is available etc. Once we have our producers on board and a final design of our set/playground it will be full steam ahead.
What type of experience would you like to create for the audience that sees The Pulse Project?
I want to move them, make them think differently, arrest them for one hour; visually, artistically and conceptully. If your audience loses themselves… ahhhh success. It will be like nothing they've seen!
How is the USPDF connected to The Pulse Project?
We have a plan to be very closely tied to USPDF which we are very excited about but, unfortunately, I can't reveal it just yet. We plan to make an announcement with Wendy Traskos at the next USPDF competition. Once we have our producer on board we will be able to share more details.
You have always found such innovative ways to use environmental props in your choreography. What is the key to success in using props in choreography?
Know why it is there first. Connect to it. A clear concept is always the way to digging deeper. You can feel when a prop is there as a gimmick or a crutch.
It's a fun challenge to use them well. That's also why I'm so excited to work with David Korins. His set design will be the ultimate playground for us to explore. Every inch will be there for a reason. If it is seen it will be used in the choreography.
With such an extensive background as performer and choreographer, what moves YOU when you sit in the audience of a show?
The concept, the visual picture, how the work is crafted and, of course, the artists. I watch the movement but also their eyes. Sometimes the most simple moments are the most compelling. I am also very interested in the human condition; how people connect and the energy that it creates.
As a USPDF Judge and workshop provider, how would you like to see performances in competitive pole dancing continue to evolve?
Over the past three years I've seen it evolve already. Artists are starting to think outside of the box. I love that. I still think more attention to detail and transitions is the key missing element to many competitors. As much as I am in awe of the tricks, it’s not the tricks that move me. It's the artisty of the performer and how they connect to the audience that makes us go wild.
What makes a pole dance routine memorable to you?
You can see when it’s just a routine and you can see when it transcends that and becomes a performance; a performance that just so happens to take place at a competition. The performances are the ones I remember. Its tough to judge those too. You don’t even want to take you eyes off them for a second to look down at your scoring sheets.
What suggestions would you make for pole dance competitors or performers when choreographing their pole dance routines?
Think of it first as a performance. I know you have to hit certain skills but artisty counts for way more. Focus on your performance. Lose yourself. Forget about the competition part and just go out there and KILL IT! You never know who is sitting in the audience with a little black book. : )
photo 1: Mahalia Miner-Le Grand - by Amanda Boggs, photo 2: Jenn Freeman - by Amanda Boggs, photo 3: Penelope J. Armstead-Williams, Ashley Browne, Jaclyn Walsh - by Whitney Browne
Interview by Kira Lamb
Co-Creator, Climb & Spin Inc.
Good advice. Position and fluidity matter but if you are concentrating on the flow and movements instead of the audience, you are more likely to suceed.
Posted by: Kitty Vance | January 23, 2012 at 01:35 AM