these past three days i've been in brainstorming sessions for "aureliano in palmira" with choreographer nikos lagousakos. the concept for this production deals with the repercussions choices, choices of power over personal, love over greater good. in particular it will deal with the modern socio-political crisis in the mid-east, especially syria, and how the areas colonial and native past led and continues to lead to its present. we're doing this with the addition of a danced character, the older version of our central zenobia, looking back and judging her own most pivotal choice. the chorus then, which already has an enhanced role in this opera compared to rossini's other operas, become a greek chorus, the tool of zenobia's own self-trial. nikos will be working with both the dancer luis frank and our chorus to develope a physical language. our sessions have been intense, mapping out the entire production, and exciting.
my great love is movement in space, the body in motion. i'm not trained in any way as a dancer, but i see the physical body on stage as an instrument of expression. my style of directing has long incorporated a stylized use of gesture, rejecting naturalism at moments to opt for physical expression. i'm over the moon to now have a dancer to work with to refine this language and find new ways to connect it with narrative.