PRISM WITH ENDLESS ENDINGS by ERIC GARCIA AND KAT GOROSPE COLE A
It’s the liberatory, immediate energy of queer nightlife paired with the nuanced, multidimensional world-building of dance and theater
• In practical terms, this means that performers are not only aware of their roles within a scene but also con- tinuously revising and adapting in response to the audi- ence. This dynamic interplay requires both a keen sense of improvisation and a solid grasp of the narrative and spatial context, and pulls from the spontaneity and presence that drag invites us into. • It’s about navigating a three-dimensional performance space, engaging with audience members on a personal level, and guiding them through a complex web of interactions and sensory experiences.
& it all comes together in a seemingly chaotic but rigorously conceived format of (inhale) **immersive theater**
Doesn’t that sound yummy?
Within the container of immersive theater, we’re asking:
• What is the dynamic between the devisers/performers and the audience? How do we continue to keep the audi- ence’s experiences in mind as we build? • What work is needed to be responsive to the audience, and allow their engagement, spontaneity and autonomy inform the work? How are we building this plane? This is a (non-exhaustive) list of some of our approaches: • As an ensemble, each person creates scenes based on a concept or theme. We see each other as artists and cre- ators in our own right, and there’s a lot of liberty and responsibility for each person to refine their own charac- ter and scenes. • We share our developing scenes with one another and invite feedback and ideas—everyone is welcome to share their opinions. • The keeper of the vision is Eric. He’ll take stock of what’s being built and organize the show’s main arc, oftentimes “swapping” creative material between people. In that sense, the work we’re creating is non-proprietary and can be gifted to anyone in the group to use. • Scenes are stacked together through a very intense pro- cess of trial-and-error. For our 2023 show, We Build Houses Here , we tried dozens of different orders for our scenes until we found the right balance of energy and timing. • We must shed our performer ego/individualism, knowing there’s a chance that no one is seeing our scene, trust- ing that the larger vision of the work is being held by all. The narrative, so to speak, isn’t held by one person or one experience but instead by the collective, who all hold a piece of the totality. • We also trust our abilities to take care of ourselves and one another. An access check-in at the start of every rehearsal allows people to share where they are at and how we can support them. This trust extends to the per- formances, where we are tuning into and listening to one another.
For fifteen years we’ve directed Detour, a performance company that embodies queer maximalism and an ensem- ble approach to devising work.
Since then, we’ve shifted into crafting work for uncon- ventional spaces, most recently OASIS (a cornerstone queer night club along with the revival of the STUD!) and The General’s Residence in the Presidio (think: haunted ballrooms, decadent decor, a view of the piers). We’ve gone from being Detour Dance to Detour Pro- ductions. It was a way to honor that dance, while still a part of our practice, isn’t the only toy in the sandbox anymore.
We weren’t always like that.
Fifteen years ago we were a contemporary dance com- pany (or “troupe” as one news article called us). We were dance babies self-producing work out of The Garage, CounterPulse, Studio 210.
Babies.
More is more.
An excel spreadsheet/visual document of scene order/show structure for We Build Houses Here . There are 12 columns—one for each performer—and dozens of rows that signal minute-by-minute timestamps, broken up into the four acts.
Why does Detour drag? • Affirmation (tip$$$, vocal cheers, eye contact) • Connection • Risk is Celebrated • High Reward • Entertainment • Brief but Mighty • Dynamic, Bold Expression (deeply personal to camp to emotional ballad to choreographed spectacle) • Referential • The Form Itself: costume design, lipsync, makeup, skill-sharing • Familial Why does Detour dance/theater? • Rehearsing/crafting for long periods of time • Ensemble Creation • Building and stacking scenes/sequences • Building the plane as we fly it not quite knowing where we’ll be in the end but trusting in the p r o c e s s
And what happens with the audience? A list of hopes, and invitations:
• Step out of the traditional confines of passive observa- tion into a realm where you and your choices signifi- cantly impact the experience; • Navigate the space, make choices, place yourselves in environments that react to your presence; • And by doing so, alchemize interaction and spontaneity from everyone present.
A prism of sorts.
Immersive theater allows us to explore the boundar- ies of creativity and human interaction, for performers and audiences alike, and offer experiences as diverse and dynamic as the people who participate in them.
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In Dance | May 2014 | dancersgroup.org
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