The Transparent Recital (2003)
/This week we look at a commissioned work from the hugely talented and irreverent Tedd Robinson. The Transparent Recital premiered in Toronto on a program entitled Home, and then toured to St. Mark’s Danspace in New York City, coinciding - purely coincidentally - with one of that city’s worst-ever blizzards, the President’s Day Blizzard in February 2003.
Of Tedd and this work, Peggy writes: Tedd Robinson had provided my very first opportunity for a solo concert in May 1990 as part of the 6th Festival of Canadian Modern Dance, an event he established in Winnipeg in 1985 and which flourished over seven years. He and I are part of the huge cohort of dancers who entered the dance world in the 1970s – both of us Libra Dragons born in 1952 – and nonetheless artists who have pursued very different paths. Tedd’s extraordinary signature as a solo performer in self-made works, and his far-ranging pursuits and accomplishments as a choreographer, artistic director, and mentor have made rich and profound contributions to Canada’s dance milieu over five decades and counting.
An admiring fan of his work, I took the opportunity of commissioning funds from Danspace Project in New York to invite Tedd to create a piece for me with cellist Shauna Rolston. Working with collaborators John Oswald (composer), Caroline O’Brien (costumes) and the late David Morrison (lighting), Tedd created a 30-minute work brimming with both poetry and peculiarity. My own reading of it cast Shauna and I as itinerant performers who each carried with us our childhood fantasies of being on stage. A suitcase I delivered from place to place finally came to rest beside a child-size chair in which I sat to open what turned out to be a victrola. I pulled a 78rpm recording out of a paper sleeve and when the needle was set down it played a recording of Shauna whistling a melody by Bach. After being seated on several of the full-size chairs ranged about the stage, Shauna also eventually arrived on a tiny chair where she took up her childhood instrument – a viola with an end pin – and played the music for the finale scene. Asked by Tedd for a possible title, I suggested The Transparent Recital and it sealed our work. PB
Tedd adds: When Peggy asked me to contribute a work to her repertoire, I was very honoured. We had known each other a long time and our aesthetics were complimentary but different.
I have found a rehearsal tape of the work and I am looking at it now as I write. Peggy is fearless, and what might seem comedic is just so broken and sad in my seeing of it, which I love. She makes this disjointed and non sequential and awkward movement narrative tell so many stories to me. There is posing in front of a microphone as if something important will be said then she walks away, to become a weird creature with thumb horns. Nothing makes sense, it is just so abstract. I would call it body intelligent abstract theatre, as Peggy’s body has so much intelligence.
I enjoyed watching the rehearsal tape so very much. So utterly odd! TR
“Baker shared the stage with one of Canada’s finest cellists, Shauna Rolston… As is so often the case with Tedd Robinson’s work, the ghost of René Magritte and his fellow surrealists seemed to be lurking in the background.” William Littler / The Toronto Star
To meet Tedd in the classic BathTub Bran series, visit YouTube here.
