Animas

In order to climb the fabric, which consists of one long, long piece of polyester-ish pretty colored stuff hanging about thirty feet from a solid rigging to the ground where it swirls around in a pile of about three more feet, one firsts lifts her hands as high as possible and pulls down to remove the stretch. This stretch is important once in the air, as a shock absorber for falls and stretches. But, if one tries to climb without pulling first, she will more or less jump just to sit on the ground. Which brings me to the next step. A little jump and a lot of arm, and she holds herself with arms bent at the chest and wraps one leg around both pieces so that the fabric runs down the thigh, around the knee, and around again until the fabric lays on top of the foot. The other foot then stands on top of the first, sandwiching the fabric between and thus creating a fine platform. From this position one can continue her climb by sliding her hands as far up as she can, lifting, and repeating the leg wrap. All the way to the top if desired, although there are other, maybe more spectacular ways to defy gravity and sanity. Or from this little platform, however high it may be, she can do a multitude of tricks, one of my favorites requiring a double foot lock. She lifts again, letting the fabric unwind from her leg and instead wraps just one piece in the same manner, around the knee, over the foot. Then, lifting this leg into a pike (straight leg, ideally parallel to the ground, toe pointed), she sticks the other foot into the part that is around the knee and pulls the fabric up and toward the foot, looping it from the outside in. This foot is now locked and can be stood on as though it were only the ground only with more pain, as all the little bones in the feet are being squeezed together. For the other side, the leg is wrapped the same but since one doesn't have to hold herself up anymore, she can use her arm to pull from the knee and make the lock. Now, both feet are held tightly and separately and she holds on with her arms high above her head. The shoulders slip though to the front and one arm bends around one fabric and the other just bends so they are holding opposite pieces. By pulling, lifting, and wiggling the shoulders a little, the two pieces are now crossed behind, running down the shoulder blades, crossing at lower back, and coming around to the front of the hips. Lifting the arms again, and piking the legs into a split, she sits in a V. Now comes the best part, pushing back with the arms and lifting the legs, she tips backwards until she is upside down with the legs still split, parallel to the ground. It is soooooooo pretty! (see photo). Tipping back over the cross can be moved down to the knees, which are then bent and she leans backwards to hang. From here, she can flex her feet and turn them out, like first position in ballet, and slide down to hang by her feet. And on and on, there are endless positions, all at least as complex as this one, although most are much more challenging in both knowing the proper order and placement, and strength required to sustain the body.
Last night was the second night of my first show with GravityWorks, and it was fantastic. I spent most of the time backstage, averting costume disasters and making sure nobody forgot to close a curtain or make a scene change. It was fun, a little like when I did theater as a kid, but on a whole other level. The house was just about full both nights, mostly strangers, a few family members. I had two little parts, two costumes, lots of sparkley face paint and wild silver plastic hair that came down past my butt. I went on each time there was a trapeze routine, to sit on the stage and hold the fabric out of the way. In the first part we are in heaven, so I wear a light suit and look calm and pretty. In the second part we are in hell, my suit is black and I get to twitch and stare like a crazy woman. Both are very fun. And, it is perfect to help me get over my stage fright, to have a little part, that is only noticed a little bit. I can just play until I am comfortable. I cannot even explain the energy that the group brings. Everyone is doing it because they love it so much. And there are none of the better than thou attitudes one finds in so many performance groups. Nisha, the leader, makes sure that the chemistry is a good as the skills and it really makes a difference. She has turned down people who already know what they are doing, preferring to teach someone from scratch if their attitude is better.
After we took down everything, every last star pinned from floor to ceiling, tied up every fabric, undid every knot, loaded the trucks, checked, double checked, we all went to Nisha's house to watch the video from the first night. I was still in my makeup. We ate a ton and cringed and laughed at all of an opening night's rough spots, and also were totally amazed at how professional the show ended up. Until the day of opening night, we had never rehearsed the whole show in the proper positions. The rig at Nisha's house is nine by nine square with equipment hanging on all four sides. I cannot wait for the next show. I should know enough by then to have a routine of my own and be a part of creating the whole thing. I love doing this. I don't think about anything else when I am at practice, and when I am not at practice, I am wishing I was.