Sixth rehearsal, A and B, directeur d'orchestre.

A) 11:30 - 14:00

B) 15:00 - 17:30

Alex begins the rehearsal by apologizing to the dancers that are left behind. I feel like I have something to do with it. I know he's sorry, I know how hard he finds it. I know that's how it has to be. He tells me later he did read about all this in my blog. I wouldn't want him to have the impression I think less of him because of what happened on Friday. It's actually the opposite. I was astonished by then because I had never assisted in this part of the porcedure, but I learnt that from him. I don't think there's any good way to saying that, everyway is going to be painful. Because it's not about how it's said but what is said. And what is said can't be unsaid because it must be said.

Mmmmm... I understant myself, that's what counts. It'll be my jod to do the big work afterwards, I'll see what I can do.

After this hard part of apologizing for what need no apology, Alex wants to begin the week with a quick run-through. I notice then before doing it he wants to clear up the transitions. I wrote this down on my notebook not really knowing why. I understand now. It's on the transitions that dancers normally get lost. It's easy to remember what you're doing in the middle of the section, but it's more tricky to remember what goes between sections and how to get from one section to another. Oposed to that, if you get lost in a transition, you're lost for the whole piece.

The run-through doesn't go very well. Alex remarks the dancers they're not concentrated and asks them to be. He thinks the movements are alright, but they are not MENTALLY there. I could tell. There was no tension, there was no seduction. He wants them to start working as a team and have the right amount of concentration so that the teaming concentration does not drop. Also, by looking at the run-trhough, Alex realizes what the piece needs, so he's going to extend the first part (the clicking one) until it gets into a climax, otherwise, it moves to easily from one thing to another without really developping anything.

On the second part of the reharsal he puts up a new begining and moves on with the clicking. I realize he doesn't get tired of trying things. He wants to see everything. Even sometimes he asks for something he knows it's not going to work just to see it not working. This is a good quality because seeing everything allows him to be more judgemental. Another quality is he tries to do everything he asks the dancers by himself, to see how it fits on the body.

I find him as a very good orchestra director, which turns out funny. I'm tired today, I'm not funny at all.