Since joining the company in 2013, Amy Butler has collaborated on several notable works, including Artificial Things, The Enormous Room, Bill & Bobby, and The Seafarers. In her current role as Rehearsal Director with Lived Fiction, Amy works closely with Co-Artistic Director Lucy Bennett to refine choreography and support the dancers as they prepare for premieres and touring. In this blog, Amy emphasises the importance of clarity and inclusivity in her work as Rehearsal Director, recognising it as a key aspect of her position.
In a studio, Amy and Hannah dance together. Hannah, a white person with Down syndrome, crouches low with her right leg extended slightly so her knee and shin skims the floor, she twists in her torso and opens her arms wide flat to the camera. Behind her Amy, a tall white woman, mirrors Hannah's wide arms. Amy's right hand nearly meets fingertips with Hannah, as if she is pulling a thin thread between them.
‘Rehearsal directing is something I fell into at the young age of 25 and even before that I was often ‘dance captain’ or general spokesman. When there is not a rehearsal director and I am dancing, I become the one rallying, practising and clarifying the material. It is this last attribute which I would like to discuss.
In life I appreciate clarity; it feels like I am unable to understand or deliver what is needed without it. Do not mis-understand me, I also enjoy ‘the not knowing’: the openness of improvisation and excitement of simply watching things unfold. But, when you are nearing the end goal or working with time restraints clarity is vital.
I believe that providing dancers with clear, precise instructions and information supports an inclusive working environment. It is not about over complicating, in fact it is the opposite. To communicate with clarity one needs to edit and ‘rub out the fuss’.
It is not easy to do this and I confess to not always being able to! But I am often striving in this direction. Surely we should aim to get the best out of those we work with and in a way that is beneficial to them. This requires trust in both directions.’
During a moment of rehearsal, Nadenh Poan, a wheelchair dancer with light brown skin, lays flat on his back still in his chair and grabs the metal framework towards him. To his right Amy is crouched and she reaches to his right shoulder, intently delivering feedback to Nadenh about the choreography.
‘From my position as rehearsal director I need to know: do you trust me to give you specific instruction in relation to your body? Do I trust you to be able to work with this information safely?
The performer must ask: do I trust the rehearsal director to give me direction that is relevant to my body/mind? Do I trust that I am doing this for the benefit of the work and myself?
I am sure there are plenty more questions that are asked inwardly and outwardly and one of the major parts of working inclusively is this dialogue.
Quite often it is the exchange between people that develops clarity and it is important to recognise this. Just because I am employed as a rehearsal director it does not mean that I always know best. Yes, I have expertise and skill in this area but it is important to have humility and to listen to those around you. Through this trust and recognition of each other we can develop precise, consistent and beautiful work. For me ‘clarity’ means these three words, beautiful I know is subjective but I am allowed a little artistic licence!
Clarity is clear communication, it is helping someone to find detail and understanding and the way we discover clarity is unique to each person in the space. And, in answer to my provocation, yes, I think clarity is an inclusive practice.’
Lived Fiction
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