Sunrise video inside David Ravel's solo

http://www.youtube.com/watch?v=hoAiBbcKRUM


After entering the space, eating a small bowl of soup, and looking at the view, David was pointed to a small alter on which he was invited to watch this video.

Kayla's solo

I've never attended a theatre or dance performance at 9am. Student
matinees at 10 or 11am, but not at the very beginning of my typical
work day (which, upon later reflection, I probably should have just
started work at 10am that day instead of 8:45). It threw me just
slightly (I was off-kilter the rest of the work day), and before it
began, I felt a similar responsibility to other solo receivers from
this project to be present/focused and enjoy the gift that was made
available.

Once in the room, the initial concern over being distracted was no
longer an issue - you held my attention and kept me entirely engaged
for the full 45 minutes. Most fun was the ability to semi-control your
improvisation with the word 'develop'. It's probably a pretty standard
improv exercise, but very fun for an audience member! I was so
appreciative of the musical theatre research you admitted to (and you
did very well as a beginning drumset player!), and I now have one
more moment to remember (and giggle at) the next time I hear "shut up
and drink your gin!"

Due to my job in the Dance Dept, I almost wanted a location other than
Mitchell 256, even if you did make it your own. It was just a little
too closely connected to the rest of my work life, which probably led
to my off-kilterness the rest of the day.

I know that for my solo and the constructed environment, you weren't
just drawing from the survey questions themselves, you were using what
you know of me. Thank you for the ceremonial ending to the solo, and I
am honored and blessed to have experienced this project personally.
Kayla

Carey's solo for Paul

Paul's response to Carey's solo:
"If you were a billboard today, what would it say?" this was the question posed to
me by Carey. I immediately responded "PROVIDER".

I received my instructions via note on a nice clean sheet of notebook paper:
"Horseshoe traffic circle at Sandburg, 9:30 am. I approach. You walk until you're
done."

Being of German descent, I timed it so I would be IN the horseshoe of the traffic
circle at EXACTLY 9:30, easy to do as Sandburg has a digital clock out front. 9:30
on the dot, I'm in the traffic circle, but no Carey. (I would learn later that we
must have circled each other in this very small area like a Keystone Cop
choreography. How two people do not see each other in a 40 foot space with no
columns in it remains a mystery to me, but that's what happened. According to my
senses and experience, NO CAREY. I anticipated a kind of rich providing coming my
way. Carey -- the little I know her, just 30 minutes or so -- is highly energized
and I think has a flair for drama, and could be a fountain of goodwill. But NO
CAREY.

And then it dawns on me: BRILLIANT, EXCELLENT, FANTASTIC, SUBTLE, DEEP, EXCELLENT
(BECAUSE IT WAS EXCELLENT). Carey is providing me with SPACE TO MYSELF. I walk to
the gym. I float, thinking about the excellence and euphoria of someone giving me
this space on my own. So clean, unobstructed, private and yet provided for. It was
definitely different than just going to the gym. It was a gift of the gym. The
focus and attention of it being Carey's piece, completely energized my gym
experience. Heightened my attention dramatically and, well, excellently. Through
the whole hour I was there, I kept sighing and laughing to myself. What a simple
stroke of genius.


Later when I found out that Carey had intended something else, I hoped she would
genuinely understand how wonderful the absence of action had been. It was so
special and moving, even if accidental. So I wonder what Carey takes from this?


I still do want to receive the cornucopia that I think Carey has in her, but this
one was just right.

Solo Performance on Saturday open to the Public

There will be one Evidence solo that I'm inviting anyone to see if you'd like to witness one. It'll be Saturday, July 31 at the playground on Maryland and Hartford, across from the Sandburg dorms. 

Kate Hewson will be receiving the solo. Please sit or stand somewhere that is slightly covert (not on one of the benches) so that you can watch the watching without becoming a part of the event. 

This solo is not 'exemplary'; they are all totally different but this one happens to be at a site that's amenable to other viewers. You'll get a small taste of the nature of the work. 

New York Times article

Check out this article in the New York Times, July 28, 2010 about One to One performances happening internationally.

David's response

I was intrigued by the idea of a solo for one person, but I was only moments into
the piece when it hit me that this was a solo for me, and the responsibility I felt
for that was kind of shocking -- who am I to demand this time, this space, this
consideration, this discernment from a near stranger?

I don't remember my dreams, so it is delightfully uncanny and generous to be given a
dream in the form of this dance, something I will remember. And this dream is most
definitely mine; it's images and logic come from my data. It makes sense in that
deeply visceral way in which you know a dream is true even if, and especially
because, you lack the words for explanation. The piece uses language, and I love
words, but it's greater resonance comes from the way it slips around and dodges
words yet strikes some core truths.

While the piece hit upon most of the details from my questionnaire, I am most
impressed and moved by how it always returned to my "billboard", and how that served
as the theme. That night, sleep was hard to come by, I think because of how the
piece stirred my psyche. That morning, when driving to work, a couple of things
came to me in a flash, things until now I held vaguely but now can be voiced.

I think this is the purpose of a dream.

Thank you.

Carey's solo for Tom

Tom's response:
Dear Carey (and Amii)

TaDa indeed! What a delight it all has been & continues to be even in this 'exit
interview'. It's a brilliant concept and rich in it's depth of experience. I felt
joyous, amused, thrilled, & confused/uncertain (a man was sitting on the second
bench in the park, was I to sit next to him? I chose not to, probably a good idea.)
I also forgot my own answer to something lost....haha hoisted by my own petard and
forgetfulness. I loved it all, from the chance operation of things, the specificity
of details, the gift wrapping and instructions, the kinesthetic approach, being
forgiven was SOOO very emotional, what a gift. I loved watching and being watched
and watching others watch. I was compelled at first to dance along, what a strong
pull that was, so glad I didn't, OK I did one arm circle. And the layer of flotsam
and jetsam on the curb side that you incorporated - loved the chair, the rock for
ipod placement (I didn't want to leave it unattended tho it turned out to be safe)
and synchronicity - a piece of music ended just as you ended a certain phrase of
dancing. The solo's end and disappearing into the distance was brilliant. The
whole thing existing before it began and continuing after it was over. I was glad
to sit with my friends (2 had joined me & were among the park people) as we sat and
talked and shared and watched the full moon rise from the lake. Magical &
pedestrian, playful and abstract, exquisite and ordinary. Thank you.

best,
Tom