We talked to Savannah Spratt about Doris Humphrey's "Air for the G String."
LJ: This work was choreographed by Humphrey rather than Limón…how does it differ from other choreography in the company's repertoire?
Savannah: "It's much less complex than José's work. He took the ideas of Humphrey's fall and recovery and expanded them. But in this piece, there's a simplicity to the choreography and relationships to one another in a very pure and hopeful way. Where I think José wasn't afraid to explore the darker side of humanity."
LJ: This work a been described as "sculptural". Is there a place for human connection and relationship in this work?
Savannah: "We try to stay very connected to one another in a human way throughout the piece, otherwise, it can feel lifeless and fully shape-oriented. Whereas we are trying to fill it with shared hope and a sisterhood between all of us. I think the richest moments are when we do find connection within the very formal world that we are in."
LJ: What is it like dancing with the robes?
Savannah: "They have a life of their own, which is wonderful when they work with you--they really add magic and shape to the space. But in an unpredictable place like Vail where there's wind, we hope that we can stay calm in managing them."
LJ: How do you envision the character/time/place that you inhabit in this work?
Savannah: "This theater is such an ideal place to feel that connection that Humphrey had to nature. I'm trying to see a heavenly atmosphere around me, and the trees and sky that we have here are exactly what I imagine when we are on indoor stages."
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