Stage Whisper
Whisper in the Wings Episode 633
(upbeat music) - Welcome back in everyone to a fabulous new whisper in the wings from stage whisper. We have a great, we are heading back to the world of dance with a great production to share with you today and joining us to talk about that. We have the amazing choreographer, Teresa Fellien. She's here to talk to us about body stories presentation of Purple Flame happening September 19th and 20th at arts on site Studio 3R. You can get your ticket to more information by visiting arts on site.org. We are very excited about this work. We are very excited to learn more about it. So let's not waste any more time and welcome in our guest, Teresa. Welcome in a whisper in the wings from stage whisper. - Thank you, Andrew. It's great to be here. Nice to meet you. - I'm so happy you're here. I'm so excited to dive into the show, Purple Flame. Looks fantastic. Just in the press release alone. So why don't we start by having you tell our listeners a little bit about what the show is about? - Sure, well, we've been investigating this material for this year, and it's been a really cool process, which maybe we'll get more into later. But the whole thing kind of came for what it's about. It came from the body first. It wasn't like a theme that we decided on. You know, it sort of came to us in rehearsal. And I was doing a lot of, sometimes we will know exactly what the subject matter is and we're digging in from that angle. This time it's like the movement told us, you know? It was almost like the movement experience within my body told me what I was communicating. And what happened was I was improvising in the studio and my body just needed to move and kind of sort of spiral through things continuously because I had been through several health challenges in the past two and a half years, which I moved on from and I'm so grateful for that. But it was sort of like one roadblock after the next and one, it almost felt like, if you want to think of each chakra, it was like, oh, now I have to like learn from what's happening in this part of the body and then learn from that one. And they were all like really challenging, but mind opening and body opening experiences. But I had a lot of stuck energy in my body from going through all that. And so my body just needed to move and like flow and find its way through, like kind of move through it to release the sort of tension from those experiences. And it felt so palpable, like this is the direction we have to go in. So it felt really nice to kind of have it go from the inside out that way. And interestingly, we kind of have been on a bit of a healing journey as a company, like thankfully one of our education director and one of our main company members had been in the hospital earlier this year and he's fine now, but that was a whole thing that we all supported each other through. And another dancer had a concussion from a bike accident and she is recovering from, she's all better now. But we've had a lot of concurrent healing journeys and so we each have our own personal and we'd loved ones and ourselves. We have kind of, we've brought all that into the process. So it seems like a really meaningful piece for us, not in like a simple, not in like a, what's the word, not in like a hallmark way, like in a really true way of like, wow, these are life experiences and what does it mean to move through them and that kind of way. - That was a long answer. - No, but that is fantastic though. What a hard journey to get here, but what a powerful inspiration for it. As we are about two weeks away from the show going up, can you tell me a little bit about what it's been like developing this piece? - Sure, yeah. It's been a really interesting process. Like it started with that seed that I mentioned of the improvising, but then we, in order to develop that, we had just kind of come off of our winter intensive, which happens every January. And we tend to invite members from our winter intensives and summer intensives to perform with body stories as a company, like either in a part of the existing work that we're creating or as their own, you know, their own piece that's maybe related to what we're, what we're creating and so with the winter intensive, we, some of the participants joined us in a short rehearsal process where the phrases that I had created from the improvisation I was talking about at the beginning, I had taught those in the winter intensive and then we kind of developed them in winter intensive rehearsal processes before an informal showing with Mark de Garmo dance, where we were able to perform it. We actually did it as a duet because it, you know, we had several winter intensive participants, but there were only two that were available for the informal performance. And that was great. That allowed us to kind of focus on a duet. And we've had been all year, been collaborating with three Italian companies that first came to our space in upstate New York in the spring. And then in the summer, we performed at three locations in Italy as kind of our tour with them. So I knew I needed to have a duet prepared for those spring performances when they were in New York with body stories, 'cause each of the Italian choreographers, we had three duets we were each making a duet. And so I was kind of focused on crafting that and getting the movement vocabulary kind of in the space. Like we kept doing different versions of this kind of base vocabulary and sort of pushing it in different directions to try to sort of embody the full experience of all the highs and lows and fast, kind of maybe somewhat agitated things and then like more released flow things that would go with a healing journey as I described. So we really had a lot of variance of energy and space and time that we were exploring. So all of that was put into the duet and then concurrently we were rehearsing as a group because Purple Flame at Arts on Site is a five person work. So we were preparing the duet and then concurrently being like, what if this is five people's journey? It's not just a two person journey and what does that mean in the duet? In the five person work have the same seed vocabulary but are very, very different in the completely different stories and different kind of nonlinear narratives. So, and then there's one more piece of the puzzle is that in Italy, everybody is fine, but unfortunately one of the dancers had COVID and we had to turn it into a solo in Italy. Like when we were already there, this is so for everyone's safety. So that now we have a solo version, a duet, a version and a five person version and they're all quite different and they've all informed each other. - Wow, wow, y'all have been doing a ringer on this one. - Oh, I know. - Well, some day, a traumatic, if you will, journey for the show was such a powerful piece you're presenting. Is there a message or thought you hope audiences take away from this piece? - Yeah, I, you know, it's interesting because it's almost like if you think of what I just described that happened this year, it's almost like a microcosm of what the, my personal health journey was for the past two and a half years. And I'm so, like again, I'm so thankful that, that I, you know, there's not a long term things like I have healed from everything, but that, I would say that that has been a personally traumatic experience and then this kind of microcosm of like, okay, this, okay, that like we, the fact that we were kind of as a, really as a team holding each other and supporting each other through this process, like, like it, it never felt negative or arduous. You know, you think it would be 'cause we're like, well, we've been through the ringer, but it more felt like we're here for each other. We're focused on this thing, like we've been so productive because I think it's like a lived experience, you know, like we're, you know, I've been through times where, like say, you know, if I had an injury and I had to stay home for a few weeks and you're in it on your own, you know, like, and that's, that's fine. That's a, that's a very rewarding and challenging experience, of course, but being in process with everyone as these experiences have been happening, I feel like there's such a sense of support in the room and I don't wanna say pushing ourselves because we're very conscientious of being smart with our bodies, but we're not, we're not sort of burdened by any frustrations that may come with these kinds of obstacles and instead we're sort of, it sort of opens up a new pathway each time of like, like in Italy when we had to create the solo Ariana and I were, we didn't even say, "Wow, we're making lemonade out of lemons." Like we didn't even have the time or the space in our minds to say that, but that's what we were doing and it wasn't a question, like at first it was like, "Oh, we're gonna make a socially distanced duet." Yeah, of course, and we'll mask and we'll do the performances that way. Like all of the team, we're like, all right, that's what we'll do. And then we're like, okay, the producer says, "No, we're gonna do a solo." Okay, that's what we're doing, and then let's rework that. And you know, it wasn't, it wasn't like a question of, "Oh gosh, could we do this?" "Oh no, oh, what's gonna happen?" You know, there wasn't the space for worry and there was the space only to be centered and make choices that were best for everyone. Even with Natalia having her concussion, she was in the room with us. We kept, she left when she, you know, at the beginning stages when she needed to, but when she came back, we were very conscientious of what she felt comfortable doing and what she didn't. And she was very smart with her body. And so we kind of held that space for her and she entered in her own time when she was ready, but she was with us, you know, and so she's been a part of the process the whole time. So I think to answer your question, again, that was a long answer, but I think that is the message that we want to share is that we've all had ups and downs. These past four years, like it has not been easy for anyone, I would say, and in different ways, we can all relate. And I think the overriding message is that, wow, I don't know if I can say this, but like shit gets complicated. And it's good to like know that, but feel centered in yourself and kind of ride the waves with people that you trust and admire. And when you're open like that and centered, it's like the magic can happen and you can connect with each other and through movement. And it's really been, I don't use this word often, but it really has been the blessing. - That is incredible. I love that idea that you're trying to communicate. That is a great lead in though to my final question for this first part, which is who are you hoping to have access to Purple Flame? - Yeah, yeah, like who we would like to access Purple Flame really like, I guess what I was speaking about at the end of your previous question is, it really does make me feel passionate about connecting with people from various backgrounds like that may be able to connect to any type of arduous journey, any type of challenge that they've found a way to fold into their path or circumnavigate, like depending. You know, every situation is different, some things you have to move around, some things you have to incorporate, some things you just have to keep in with you and it may be something that you have to hold with you for a long time. And all these things are different, but I think we can all connect with them. Like I'm hoping that my students from SUNY Old Westbury can attend. I'm speaking with the school about that because all of my students there for dance and music are mostly the first generation Americans and they're amazing students that have kind of such a varied experience like maybe having grown up in one country and then they are now here and navigating like a cross-cultural experience as well as a college experience. And they just have such a deep understanding of who they are and what is this place and how am I interacting with it. And so at the beginning of classes we always have like a check-in of how they're doing. And I think they would connect with some of these themes and it doesn't have to be about physical healing. That's what we made it about but the kinds of shifts that happen, it could be a shift of, wow, it's really challenging to start college. Like this is a whole new world. Like where am I? Like I'm meeting all these new people at once. You know, it could be some, any kind of big shift you're gonna feel those sort of interpersonal connections and maybe roadblocks that then you figure out and all these learning things that happen as you go through big changes in life. So I think anybody who's at like, who's felt like they've had a lot of changes in the past four years, or anybody who's had a personal healing journey or has witnessed or held space for some, a loved one with a healing journey. All of those things, I'm just, I'm excited to see what this piece may, how it may resonate with people and their own lived experiences. And like it doesn't matter if they get what it's quote-unquote, about it matters like if it has some sort of, some sort of shift for their own lived experience and how it impacts them. So, I really, I hope like all generations come to see it 'cause I feel like the people that are in their 80s have seen previews and they have different things to say than people in their 20s as we've been doing previews throughout the year. We've gotten really interesting feedback from both of those groups and everywhere in between. So, I don't know, I'm really excited for that aspect of people's experience. (upbeat music) - On the second part of our interviews, we love giving our listeners a chance to get to know our guests a little bit better, pick your brains, if you will. And I know we're a little short on time, so I wanna jump to my favorite question to ask guests. And that of course is, what is your favorite theater memory? Or since we are dealing with dads, I mean, what's your favorite dancer performing arts memory? - Oh, this is a fun question. I mean, when you use the word memory, I think of course, it makes me think of when I was a kid. So, I'll go with that, but I have so many great dance and dear memories that it's hard to choose, but that the word memory just evoked that. And I think it was when I was lucky to visit New York City from Massachusetts, where I'm from, when I think I was 12 with my family. We went, you know, the kind of, we got some discount tickets and saw some shows and just to see something different. And that was when I knew like, "Oh wow, I'm gonna live here." Like, this place makes sense to me. And so, we went to see, it's kind of funny. The thing that we saw is, I mean, we saw a few shows, like something that's more serious. A Neil Simon play that had Joan Rivers in it. But we also, the one I'm thinking of as Starlight Express, the roller skating dance performance. And I'm laughing 'cause that is funny with all the dance Broadway shows I've seen since then. You know, that one, it was just, it's just the fact that I'm on Broadway and I'm feeling this like energy of the performance and it was really special. But I don't know if that's my favorite one. Can I try another one? - Absolutely, yes please. - I think one of my favorite theater memories is when I saw Stomp, actually. Because it's interesting 'cause I know a lot of people who have been in Stomp, but when I saw it, it was before I had known them. So I still, to this day, I wonder in the back of my mind, like, wow, did I see like Sean Curran, for instance, in Stomp? And I didn't know because I didn't know him at that time. Just things like that, like different people I've met and friends along the way. But I was so, I loved rhythm, like, and the sort of talk about it interconnected, you know, relationship, like the sort of rhythms that each, like, people are making together that are happening with syncopated time, but it's like a conversation. The whole show is rhythm. And you're along for the ride and you understand the trajectory of it, but it's not through words. It's not even through song, it's like through rhythm. And you understand, like, the impact of what's being said and, like, the elevation and the highs and the lows. And I just, I find that really fascinating. And I also love it when I'm, like, involved in a multi-sensory way. I'm thinking back to De la Garda. And, like, when there was the slip and slide over on top of, over on top of the audience. And you just see, it was like a clear slip and slide. And people, like, running and dancing across that in the ceiling. So you're looking up at a totally new vantage point and seeing that. And just, I mean, there's so many instances. These sound kind of, like, little moments. But yeah, I think theater gives you these moments and dance where you never forget them. They're kind of, like, in part of your brain as a movie and, like, a full body experience in a way. And as soon as you hear it about it or think about it, it gives you, I'm feeling that kind of joy and release through my body, just remembering it. Like, one of my-- our costume designer went to the Pearl Jam concert two nights ago. And so on the way back from rehearsal, we were listening to Pearl Jam on the radio last night. And we were, like, in the concert. And that music was, like, moving me, like, the kind of soulful energy that Eddie Vetter has. And I just love any performance that brings you into that experience. And you just can't-- you go with it. Like, you actually feel human. You know, you feel, like, a full sensory being. And your soul is alive. And I don't know, I just-- those are the kinds of things I like. I love those memories, though. Those were wonderful, wonderful memories. Thank you for sharing them. Well, as we wrap things up, I would love to know, do you or your company have any other projects or productions coming down the pipeline we might be able to plug for you? Sure. Thank you. Well, this one is sort of maybe a little bit early. But we're fortunate to have a preview on Saturday, September 7th, this coming Saturday. We've been produced in a series last year and this year, called Jefferson Historical Society. And they do sort of a yearly summer series where they produce us for full-length work. And sometimes we do community engagement with either question and answers or workshops as well. And so the timing of it this year is so great because Purple Flame is prepared. And it's in upstate New York and Jefferson and the Catskills. And so to be able to share it with audiences there, understand where we are now. And then in these final two weeks, it's a bit of refining and days getting ready for August, on the September 19th and 20th. So that's one thing that's exciting. And it's also exciting for us because we have-- body stories is based in New York City. But we also have an art space that is in Jefferson, New York, called Middlebrook Arts Research and Residency Center. And we host retreats and residencies for dancers, musicians, yoga, retreats, and many different forms. We've had writers. We've had all kinds of things happening up at the space. And so that's a community that's very near and dear to our hearts. And then we come to Arts On Sight, which is also one of our favorite communities there. And then throughout the fall and the spring, we are in residence at Goddard Cultural Center on the Upper West Side. So we're very excited to be there. We just found out about that recently. And they are producing our performance for spring 2025. And it's Goddard Riverside Community Arts is the program. And so we get to rehearse there throughout the fall and we'll have open rehearsals, maybe some other invited events, such as like classes. And then in the spring, we'll have our big New York City season performance that will be at Goddard on the Upper West Side. So there's a bunch of other things in between. Like we have our body stories winter intensive in January. We'll most likely be performing an APAP and probably another few things that are being finalized now for the fall. But that's in a nutshell what we're looking into. Very exciting. So definitely some things in the fire, some irons in the fire that we need to keep tabs on. And they greatly lead into my final question, which is if our listeners look like more information about Purple Flame or about you, perhaps, I'd like to reach out to you. How can they do so? Sure. That's great. The place is they can always check the website at Arts On Sight for tickets. I think you were speaking about that earlier. I can say what that is. But I just need a moment. Here it is. It's at thatartsonsight.org. And then if you go to the events and body stories three Cephelion Dance, you'll see our specific page with all the information about Purple Flame. So that's one great way to reach out. Another great way is we're always open to helping anybody with the process of finding the performances or any questions you have. We're very open and communicative as a company. So always email us. You can email info@bodystoriesfelion.org. And even though it says info, it goes to an actual person. Either me or our amazing company manager, Ria Vahi. So info@bodystoriesfelion.org. Or go to our website, bodystoriesfelion.org. We list all of our events and all of our educational programming and different things that we do. And then, of course, we're on Facebook and Instagram and TikTok and all the exciting things there. Perfect. Well, Theresa, thank you so much for taking the time to speak with me today. And for sharing this incredible upcoming production, this sounds just so amazing. So thank you so much for your time. Thank you. It was great to meet you, Andrew. In such a nice conversation today, I really appreciate your questions and your enthusiasm. And yeah, hopefully we get to see each other later this month at the show. Yes, yes. Thank you. My guest today has been the incredible choreographer, Theresa Felion, who joined us to talk about her company, Body Stories presentation of Purple Flame. This has happened on September 19th and 20th at Arts Onsite, Studio 3R. And you can get your tickets and more information by visiting artsonsite.org. We also have some contact information for our guest at her company that we'll be posting on the episode description, as well as on our social media. But right now, head on over to artsonsite.org. Get your tickets now for this fantastic new work, Purple Flame. It's happening September 19th and 20th. And we want to add for our American listeners that election day is November 5th. Make sure you are registered to vote. Have a plan to cast your ballot and do your democratic duty. You can find out how and where you can register to vote by visiting vote.gov. The future demands that we fight for it now. So until next time, I'm Andrew Cortez, reminding you to turn off your cell phones, unwrap your candies, and keep talking about the theater. In a stage whisper. Thank you. [MUSIC PLAYING] If you like what you hear, please leave a five-star review, like and subscribe. You can also find us on Facebook and Instagram at stagewhisperpod. And feel free to reach out to us with your comments and personal stories at stagewhisperpod@gmail.com. And be sure to check out our website for all things stage whisper and theater. You'll be able to find merchandise, tours, tickets, and more. Simply visit stagewhisperpod.com. Our theme song is "Maniac" by Jazzar. Other music on this episode provided by Jazzar and Billy Murray. You can also become a patron of our show by logging on to patreon.com/stagewhisperpod. 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