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1 | Seder Apokálypsis | Map of Sections - 9/29/22 | Info: | https://www.dandeliondancetheater.org/seder-apokalypsis/ | ||||||||||||||||||||||
2 | MAIN THEME | SUB-THEMES | SEDER RITUAL | PERFORMANCE MATERIALS INCLUDED SO FAR | NOTES | |||||||||||||||||||||
3 | Pre-Show | Arriving, settling in | n/a | Cathleen Playing Harp, Eric/Anne doing duet | ||||||||||||||||||||||
4 | 1 | Beginning | Clearing Obstacles, Invocation, Acknowledging Elder Powers, Setting Intention | 1. KADESH - a blessing over wine | 1. Performers enter one by one and state their dedication. 2. 11 directions with everyone in the cast doing at least the facings (each direction has a leader call it out) -- 3. Seiryo Taiko plays Yoga Surprise song with Return to Source solos in the 11 directions (spoken by a narrator) | |||||||||||||||||||||
5 | 2 | Cleansing Waters | Letting go of what is not needed, purifying, lightening our burden in order to make the journey | 2. URCHATZ - ritual washing of hands without the usual blessing | Cleansing Waters Dance - Waters of Babylon Song (audience and performers calling out what they are letting go of) | >>> | ||||||||||||||||||||
6 | 3 | Resourcing in Life Energy | Honoring the Earth, the Land, the spark of the divine Life within each of us | 3. KARPAS - eating some leafy greens or green vegetables | Taiko Universal Flow song with Anne-Stacz doing duet | *** & >>> | ||||||||||||||||||||
7 | 4 | The Wound | Acknowledging incompleteness and broken-ness and the personal/collective traumas of oppressions | 4. YACHATZ - raising up and breaking the middle Matzah | Forrest's Letters with Jayden's choreography | |||||||||||||||||||||
8 | 5 | Remembering the stories of our Ancestors | Myths and other stories of spiritual teaching as guidance through our current global troubles | 5. MAGGID - the telling of the Exodus story | 1. Trio of Marley/Cathleen/Raven during the "A Story about Stories" Online video of moving in lanes (far away as past, middle for present, forward for future aspirations) and meanwhile there are in-person dancers doing the same onstage...movements for past, present, future are all moved through in an intertwined way, based on where dancers are in their lanes. Narrators give A quick summary of the passover story, and then a request for stories of ancestral challenges and resilience from audience members and invited guests. Ultrasonic Current plays a spacious instrumental backing for the stories. Audience responses were written down in the lobby and placed in a hat. Now audience members are called up to pick a story from the hat and read it. Final story is the story of "Mir Veln" | >>> | ||||||||||||||||||||
9 | 6 | The Waters of Letting go | Letting go of societal norms, shoulds, prejudices, outdated ideas, expectations to understand in new ways | 6. RACHATZH - ritual washing of hands before eating | We play Mir Veln and get audience to sing it with us and the Wandering Ensemble does Cleansing Waters Choreography 2 --accumulating some people | >>> | ||||||||||||||||||||
10 | 7 | Recognition of Resources | Recognizing what we have access to, recognizing what we can learn from each other, recognizing what we need to survive and what is extra | 7. MOTZI – the blessing over bread and the meal | Miguel's monologue, leading into CSUEB Anthem song with dance by Brisk's group and Suelyn's solo and then that evening's guest group (either Calpulli Ome-Tekpatl, UCA Capoeira, Hindu Yuva, Punjabi Student Association, Dance Ensemble) | >>> | ||||||||||||||||||||
11 | 8 | Sacredness and Fragility of this moment | Honoring what we have now knowing that resources are impermanent and we won’t always have them (water, Freedom, fresh air, civil rights, public education, democracy, our bodies, our identities, thoughts and beliefs, electric grids, allies, etc.) | 8. MATZAH – the blessing over the Matzah, emphasizing the special nature of eating Matzah | Creativity Lab does a video around fragile resources | *** | ||||||||||||||||||||
12 | 9 | Bitterness | Bitterness of pain and suffering, bitterness as palette cleanser, bitterness as digestive to help us process difficult things | 9. MARROR – eating bitter herbs | Weekend One: Wild One Song with Audience dance Weekend Two: Megan and Shapes and Shades Dance Company | *** | ||||||||||||||||||||
13 | 10 | Integration | Integration of different layers of reality and self, integration of the joyous and sadness, holding multiple perspectives at once, holding diversity | 10. KORECH – eating a sandwich of Matzah and bitter herbs and the charoset | Honoring loss and the connection to people who have passed. Duet Choreography to the song May Your Way Be Clear and either the narrator or audience members read the names of those who have died that we want to honor. | >>> | ||||||||||||||||||||
14 | 11 | Pleasure of Embodiment | Communal embodiment, communal acknowledgement of having animal bodies that need nourishment, accepting our physicality | 11. SHULCHAN ORECH – the festive meal | Taiko (Wind/Solos/Wind with Dancers -- with Saraswathy for March 17th and 18th and Names Dance Improv for other nights--from two sides and someone does solo in the middle). | |||||||||||||||||||||
15 | 12 | Discovering the Hidden Gifts | Hiding, finding, discovering, insight, reclaiming sensuality/sexuality/innocence, the younger ones finding the treasure | 12. TZAFUN – eating the Afikomen | Ultrasonic Current plays Moonage Daydream (with dance by Alex weekend 1, and Bonnie weekend 2) into Blacktop Blues with the 10 person chair dance | *** | ||||||||||||||||||||
16 | 13 | Grace | There are Bigger and Wiser Forces at Work than we can see from here. We're not alone. We don't know how everything will turn out. Possibility, companionship, invisible companions, elders, | 13. BARECH – grace after meals | Ultrasonic Current plays Liminal Space with dance in rocking Chairs by Marley/Brandon/Victor/Sergio...And stories of Grace-experiences from audience members and invited guests | *** & >>> | ||||||||||||||||||||
17 | 14 | Gratitude | Being thankful, whether or not you feel thankful. (thankfulness as a spiritual practice). Singing songs of praise. | 14. HALLEL – singing psalms of praise | Audience members invited to share thingsd they are thankful for. Then Ultrasonic Current plays Miriam HaNevia song with dance by Wandering Ensemble, Cleansing Choreography 3 - with further accumulation | >>> & *** | ||||||||||||||||||||
18 | 15 | Ending/Beginning | Death/Rebirth. Every death is a birth into something else, and every birth is a death from something. Same for Beginnings and Endings. The cycles continue. We begin again. Renewal. | 15. NIRTZAH – conclusion | Some kind of monologue about change, death, and transformation leads into Seiryo Taiko playing Halelu Avdey Adonai and the audience and performers do a simple dance in place with a different gesture for each quality. Then do Queer Bird Hay Ho song. Finish with our close out ritual. | |||||||||||||||||||||
19 | Post-Show | Celebrate | n/a | Anik's DJ Party with Bollywood music | ||||||||||||||||||||||
20 | >>> signifies that this section will have some kind of audience participation and/or participation by different groups each night | |||||||||||||||||||||||||
21 | *** signifies that this section needs choreography and/or theatrical material | |||||||||||||||||||||||||
22 | THINGS THAT HAPPEN THROUGHOUT THE PIECE: Deer Drum and other processional devices cross stage between each section; Dawn/Eric duet and floor solo and Gift-Surfaces phrases are sprinkled throughout the piece; if time also Eric/Anne duet | |||||||||||||||||||||||||
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24 | Seder Apokálypsis Performance Logistics | |||||||||||||||||||||||||
25 | Performances: | March 10th, 11th, 17th, 18th @ 7:30pm in University Theatre (call time is 5:30pm) | ||||||||||||||||||||||||
26 | March 19th @ 2pm in University Theatre, (call time is 12pm) | |||||||||||||||||||||||||
27 | Tech/Dress Rehearsals: | March 6th, 7th, 8th, 9th, and 16th, from 6 - 10pm | ||||||||||||||||||||||||
28 | CLASSES TO SIGN UP FOR: Either DANC 360 or DANC 362, plus either THEA 381 or THEA 382 | |||||||||||||||||||||||||
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30 | AUDIENCE QUESTIONS FOR REFLECTION | |||||||||||||||||||||||||
31 | Audience Members are handed a set of questions when they arrive, to respond to if they want or to reflect on. | |||||||||||||||||||||||||
32 | In the audience participation sections, folks will be invited to read or otherwise share their responses. | |||||||||||||||||||||||||
33 | Questions | |||||||||||||||||||||||||
34 | Short Version | |||||||||||||||||||||||||
35 | 1. What do you want to let go of in this moment? | |||||||||||||||||||||||||
36 | 2. What is an important challenge that your people faced and found their way through? | |||||||||||||||||||||||||
37 | 3. What is an experience you had in which you felt connected to a much larger sense of reality? | |||||||||||||||||||||||||
38 | 4. Who are some of the important people to you that have passed on and that you would like to honor tonight? | |||||||||||||||||||||||||
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45 | SCENIC QUESTIONS | |||||||||||||||||||||||||
46 | Where to put band? | |||||||||||||||||||||||||
47 | Where to put Taiko | |||||||||||||||||||||||||
48 | Is there a flap that allows us through table on Stage left | |||||||||||||||||||||||||
49 | What will floor be like | |||||||||||||||||||||||||
50 | Can we have walls in lobby mirror the big walls onstage | |||||||||||||||||||||||||
51 | What should fall apart in the set | |||||||||||||||||||||||||
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