Chantala Methodology and Trajectory
(relative to production aesthetics)
Inspiration => Concept => Process => Execution => Outcome => Goal/Dream => Product
  1. Inspiration
    1. Cyber-correspondence between Pinkwater and Schindelmann (concept and language [puns] )
    2. Chantala, a poem incorporating puns contained in the above-mentioned correspondence
    3. Musical score (electronic pre-record, live laptop, live vocal [synaesthetic scores] and live acoustic instrumental [guqin] )

  2. Concept and Process
    1. Sources and influences
      1. Decadent (versus classical) style with its depreciation of the whole to the benefit of the part
      2. Post-modern eclecticism resulting from the dissolution of traditional categorizations
      3. Avant-gardism and its four root tendencies: the amplification of romanticism’s cult of childhood, the edification of the absurd, the exploration of the subconscious ( also onericism), the cultivation of ambiguity
      4. Experimentalism (musico-procedural designation), aleatoricism (musico-procedural designation), automaticism (performance practice)
      5. Mysticism and the divestiture of everydayness from the everyday
      6. Tibetan religious art
    2. Philosophy regarding the approach and process leading to the realization of Chantala
      1. The choreographer (Dierdorff) should not consult written text until well into having devised a ballet. Musical rather than textual language should dictate approach so as to insure hermetic rather than apollonian applications and procedures
      2. As relates to the rest of the creative team (Andonyadis, Cork, Petrovic, Schindelmann), the development and realization of an aesthetic may draw from text as it relates to the mystical interplay, intrinsic to punning, between apollonian and hermetic linguistic impulses
  3. Execution
    1. Fall semester
      1. Auditions for dancers: ______________________
      2. Rehearsals for dancers: ______________________
      3. Auditions for actors: ______________________
      4. Rehearsals for actors: ______________________
      5. Delivery of the 1st version of the pre-record track ___________________
    2. Spring semester
      1. Blocking, musical and orchestral rehearsals: Mondays , Wednesdays, Fridays (4:00PM-6:00PM); Wednesdays and Thursdays (7:00PM-10:00PM)
      2. Cue to cue: March 24th and 25th (Saturday and Sunday, 10:00AM-10:PM)
      3. Technical rehearsal: March 26th (Monday, _______)
      4. Dress rehearsals: March 27th, 28th, 29th (Tuesday, Wednesday and Thursday, 8:00PM)
  4. Outcome – Product
    1. Performances
      1. March 30th, 31st and April 1st (Friday, Saturday [8:00PM] and Sunday [2:00] )
      2. Break down after final performance (All cast members must participate.)