A few words by our wonderful dramaturg, the lovely Jess Applebaum…
“Right before we began to go into the rehearsal process, before the actors and dancers would get in a room to breath life into Broken Wings,
I sat down with Marine to hear from her where she was living in the journey, the pulse, the rhythm of her play. (The text was finalized, the choreography brewing in her mind and body.)
As we sat in the tiny room on the 5th floor of Dodge Hall, Marine said to me, “This might be the most complex thing I’ve ever written. I realize that the story, the relationship between choreographer (master) and dancer (student) , is almost an excuse for me to be able to talk about the mysticism of dance. The play is filled with so much: a subversive look at Swan Lake, an engagement with the myth of Icarus…” What I found most compelling to hear during this conversation (and throughout the process as I met with Marine) was how important it was for Marine to weave dance not only into the core of the structure, but also into the core of her characters.
What Marine has found through Broken Wings are two narratives: one that comes from the voice, the other from the body. Language, love, respect, relationships (spaces that we navigate everyday) are filled with complexities and articulated through both the body and mind. Combining words and movement Marine pushes us to think of what art can be communicated when nothing is silenced.”
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