I've been working with four breath taking dancers, Rebecca Woods, Robin Neveu Brown, Katie Sethura and Meg Weeks, since December 2011 on re-staging "The Making of Statues." It's so wonderful to have a second opportunity to revision the work. After some time away from the work I was able to extract what didn't quite fit and create something new in collaboration with these brilliant minds.

The work will still have exquisite guest-star Diana Deaver performing a solo and I will now have a modified role in the work since my injury. My understudy was such a freggin' star, I just couldn't take her out! And then there were six. I am also collaborating with lighting designer Gifford Williams to create the fabulous lighting to accentuate the projections, no easy feat.

We finished our Monday rehearsal after two wonderful run-throughs of the work with the projections. I'm very pleased where we are in our process; The work has found a new light.

I hope whoever is reading this will be able to attend and really see these amazing dancers a.k.a goddesses in action! Click here for details on tickets and location, etc.

On Friday July 8th, I finished a residency with students from Studio 19 Center for the Performing Arts in my hometown, Eustis, FL.

As a performing arts school, Studio 19 offers everything from ballet to voice lessons, but with director Maria Errico's Graham background, her Contemporary Youth Company is the goal of a lot of higher level students in the school. The dancers (all high school ages) really embraced my quirky, improvisational, "freaky" contemporary style. :) I really enjoyed their effort and eagerness to learn something new.

We had three days of class and repertory focusing on their personal love of dance, ideas of performance and stretching the elastic body. We worked on improvisational ideas involving statues or poses. I asked them to improvise by moving through poses or statues. This resulted in detailed shapes that turned into movement and by the end of the three days they were creating interesting and uninhibited improvisations inside and around the set material they learned.

Each day I taught new segments from "The Making of Statues" and they embraced it like goddesses. The residency culminated in a 20-minute showing for the parents. They were very fast learners and were ready and waiting to catch whatever I threw at them.

A big applause to the dancers at Studio 19 and a thank you to Maria Errico for her fabulous support!

During this rehearsal, Robin and I dug into our new project (Solo Experience) playing with improvisations and negotiating the body through imagery.

We focused on improvisational research. The idea for the three-hour rehearsal was to roll through a series of improvisations focusing on different parts of the body and specific imagery to make them move in different ways. Keeping our eyes closed the whole time to really focus in on the imagery and body, we took the first hour to warm up our bodies and minds to the ideas. Then after reflecting on those ideas and how our bodies responded, we began another hour of improvisation playing with the ideas of "trance-dance" or "meditative-dance" (which is what we are thinking of calling these improvisations).

Some of the imagery we used during our improvisations included:

- Bubbles or Helium Balloons in the joints. We found that visualizing bubbles in the jaw and eye sockets especially, released the brain from analytical thinking and helped us to stop judging ourselves and really focus on the visceral experience of the movement.

- Scrunching and Reaching. Creating muscle tension and compact-ness in a specific area and then expanding that area as if blowing up a balloon or stretching a piece of elastic. Building from fingers to wrists to elbows to shoulders etc. allowed a step by step visualization that helped combine all the elements in the end.

- Peanut Butter from the Heart. By putting our hands on our sternum, solar-plexis or heart area where our emotions stem from, we visualized digging out a viscous substance (such as peanut butter) from this area and then smeared it on our bones. Beginning with literally smearing with the hands on the surface of the skin and visualizing your bones and how the 'peanut butter' or other fluid would feel on the bones and continuing this visualization to smear your movement and stretch your bones to create movement when you no longer need your hands.

I am aiming to find an improvisation that stems from a meditative state, but that also draws from our dance technique. I am not interested in letting the technique, physicality, or knowledge of the body go at all to achieve this, but am interested in a way to find an improvisation that stems from our emotions and a soft calm brain-state.

It had been a while since I was able to get into the studio by myself. During this rehearsal I created a new phrase for a section of The Making of Statues revisited. I plan on recreating TMOS, deleting/changing everything and really digging into everything. My work on Robin's solo is almost complete and as I've written we have begun work on my new project together. My ideas of presence and subtle improvisation are beginning to filter into the TMOS a little more to keep it alive and I have yet to find a couple more dancers to build and recreate the new sections. I'm pretty excited about this.

I spent the majority of rehearsal listening to the soundtrack from The Making of Statues and working on a segment of the battle section. It is unison, dynamic and warrior-like. I'm pretty excited about the phrase and taught it in my classes last week. Through teaching, I was able to refine and clarify the phrase a lot.

I'm loving my dance right now. :)

"Kinetic Truth" is something Alexandra Beller said in class last Saturday. She was referring to completing only the physical action and not commenting on or over elaborating a movement in a way that you think you should react. I immediately stole this phrase from her mouth and put it in my pocket. Perhaps that is what "Conversations with Yourself or Solo Experience" is all about? Not applying the theory to an already created movement, but building movements from those kinetic truths.

We began rehearsal warming up with quiet improvisations based on my usual class but focusing on allowing the spaces in the joints to grow those "water snake" toys (pictured left) and evenutally allowing imagery and the thoughts to arise in the mind as well. We ended warm-up by finding a still place and listening for a "Kinetic Truth" to arise, only moving when the physical body wanted to and almost meditating, allowing the imagery, judgment and thoughts to come into and leave the mind.

After noticing these thoughts for a while, we could grab onto a thought and allow that thought to initiate movement. We could then amplify this movement or stay with the "kinetic truth." Continuing to allow judgment to fall away. We kept adding things that could affect our movement including sounds (music, outside the windows, from the next room), smells (we kept smelling someone making dinner), thoughts without images and visual imagery. We thought of the textures of these things and how that can affect the movement. We also introduced what we now call "vomiting" and "switching bubbles" to the possibilities of stimuli that movement could be drawn from. Vomiting is shutting off the brain and moving fast, running rampant with whatever movements come out of you and vomiting movement from your physical person. We found that while trying to "vomit," if you move too slowly, your brain interferes. Switching bubbles was from the "water snakes" we had placed in our joints. We found that throughout all of these improvisations we kept falling back to finding "water snakes" in our joints, so we allowed this to be a part of the improve. How does the body react when you switch one joint's "water snake' with another joints. I just like saying "water snake" in my philosophical rant here. :)

This rehearsal was a lot easier for me than my solo rehearsal. Of course, Robin was doing the heavy lifting and I was just facilitating the mind seeds to make one crazy. Right before rehearsal I had just gotten to the point in Steven Pressfield's new book, "Do the Work" that said, "and then you hit the wall." So, maybe I've just hit a little motivation/confidence wall, I'm sure I will hit many more and different walls as I continue. :) More on Pressfield's two books ("The War of Art" and "Do the Work") later.

After coming back from vacation with my two showings in Florida, this rehearsal was really...different. Motivating myself to create something new was really hard. I think partly because I just got back from vacation and partly because after writing multiple applications for different residencies with the same project going in slightly different directions, I'm confused as to which direction I want to go.

But...I did the work. I rehearsed the material I have been working with and logged some imagery in the notebook. Feathers falling on my face while I'm looking up and blowing them up and down was one of them and laying on a sheet of ice starring at a chilly clear blue sky was another.

I recorded some improvisations to begin to put together some new material. I kept improvising and stopping and starring at the ceiling. My inspiration that I felt before break has waned a little and I'm confused about where it went. Hopefully I will find it again during AM&D's tour beginning this weekend. :)

We had an amazing breakthrough this rehearsal. After one run, I began to give Robin the tasks I have been developing in my solo rehearsals. We began with only her noticing the joints in her body in addition to watching and allowing outside stimuli to affect her while performing her solo. In this piece, there are projections of exploding stars on the floor and back wall, so the stimuli is multiple and difficult. Like I mentioned before, it feels like your concentrating on pulling strings between your internal and external consciousness. Phew, that was deep. But it does, your brain needs time to process/multi-task because while you are doing this, you are also doing the set choreography. We built up to amplifying the joint movements, allowing weight shifts to happen because of these amplifications and embracing what happens because of the ripple of changes and by the end of the rehearsal Robin's performance had totally transformed. The choreography was the same. Intention changed, ownership changed hands from mine to hers and she bloomed into a new beautiful, confident goddess, investigating, amplifying and embracing subtle spontaneous improvisations. At that point, my notes were just, "Holy F#$!" and "YES!" all down my notebook.

I was so into the movement and projections the live-feed seemed like too much. I didn't even turn it on and half way through was like, oh yah, I didn't do that. But it didn't need it.

I did imagine at one point the moon turns into a mirror however. But that would require a camera facing Robin from upstage, because at that moment she is facing upstage. New thoughts, details and exciting breakthroughs.

Putting all these subtle explorations on another person really made me feel like I was onto something. That all of these investigations weren't just in my mind. The next step is letting go of performance expectations and instead enjoying the experience. On to the next!

I began to experiment with the first of three phases in building a work developed genuinely from movement. I discussed this idea more in depth during my last solo rehearsal post.

During my last rehearsal on 4/1, I videoed an improvisation where I followed these rules:

a) combining gestures and facial expressions with more physical movements
b) noticing and embracing the subtle shifts needed to complete the movements

After watching the video there were three sections of the improve that intrigued me in detail and isolation of multiple joints simultaneously, so during this rehearsal I learned those sections and attached them to the beginning of the material I have generated so far. In learning, I noticed that my improves are much more detailed than the material I created from words or emotions.

So, I also began to experiment with amplifying the subtle shifts in my joints, allowing subtle and spontaneous articulations and events within the set material. This is a hard brain tease and I will work more with it this week.

Last week I spent 6 hours in rehearsal on my solo. When warming myself up, I've begun talking through my class out loud, this has allowed me time to get my words in order to describe the class as well as really understand what I need to be ready to do my movement.

I applied for two more residencies this week. This really allowed me to get my written words in order and articulate verbally what I'm interested in experimenting in as well as where it might lead. In addition, I noticed that clarifying things in writing allowed me to also clarify what I am trying to achieve physically.

I've been exploring the improvisation or possibly zooming in to the articulation of joints as you execute movements. I was reminded yesterday of Steve Paxton's standing "small dance." I think this is a similar concept but instead of noticing the small dance that happens when standing, noticing the small dance that happens underneath the large dance. I am really interested in embracing these articulations and making this process visible by experimenting with magnifying the articulations so they are large enough to see. Embracing seems to be the key word lately. Instead of challenging my habits, I'm embracing them. Instead of being hard on myself for not executing the exact move (this is a hard one), finding a "small dance" improvisation out of the "problem" and possibly creating an even more interesting or physically extraordinary outcome.

For the past year, Adele has begun to encourage us to watch and take in the outside stimuli we see in rehearsals and performance and embrace the effects it has on our movement. She is very interested in seeing people, us being ourselves and this is how we are achieving that. After experimenting with this for a year, my performance and confidence has improved by just embracing what happens in the moment. I'm interested in going even further by executing set choreography and embracing all the outside stimuli and then going even further to recognize those small joint articulations and possibly magnify them to create a different quality and aesthetic outcome. I think it is a balance, like a string pulling your consciousness and concentration in different directions. You have to execute 'x' move, while receiving stimuli visually/auditorally and zoom into these articulations. But this isn't a piece, this is just a physical exploration.

So, in order to make a work combining these explorations with additional visual and thematic stimuli (music, projections, etc.). Perhaps these "conversations with myself" are what make me visualize the projections. I often see memories and flashes of images when I dance. Can I log these visuals and use them to create the projections. If an audience is present, do I still see images? Can a musician work with me in the same way to create music from this set dance score and then find those same subtle articulations within the movement. Can I make a work that genuinely blooms out of the dance, the need to communicate physically? We will see. :)

My goal for our rehearsal yesterday was to accomplish the following:

- To try out the new costumes I found:
1) The light pink silk dress I wore for the 60secondsdance.dk video
2) A light blue heavy raw silk (very) vintage floor length dress with beautiful silver beading on the collar and waist.

Robin looks great in both costumes. I love the blue one, but we didn't have time to check out how the projections showed on the fabric because she wasn't able to move in it yet, it needs some altering. So, I'm excited to see how that looks eventually. Instead we used the pink silk one because it was ready for moving and the projections look GREAT on this beautiful fabric. The dress also really fits the Billy Holiday song I have been playing during the moon section.

- To test out the new installation patch I created for the La Mama's "Mediated Media" Gallery Exhibit modified to fit the solo.

The patch for La Mama's gallery is a movement-based interactive installation using live-feed and motion-sensing to allow participants to create ghost-like outlines inside a projected sphere amongst the stars. The installation was originally based on Robin's solo so (after submitting the installation for review) I decided to insert it into her solo. Now, when she moves sharp or fast enough for the sensor to pick it up, a white outline of her body appears in the moon. During the rehearsal, I followed her with a camera connected to the computer. As her shadow explored the inside of the moon, so did a live closeup outline of her body.

- To complete several runs of the solo in costume for feedback culminating in a final video for submissions for various projects.

Although we were successful, I realized I needed MORE technology. I brought a small digital camera to film the entire project and although it came out OK, I was unable to get a second video because I didn't have enough space on the card. I was using my other camera for the live-feed so I couldn't film with my DV camera. And the digital camera didn't have a fire-wire input so I couldn't reverse their roles. Meanwhile, I was clicking through projected scenes in Isadora AND trying to follow Robin's face, hands and upper torso around the space with the live-feed camera AND trying to watch the outcome all at the same time. So, I think a small camera like a flip would be a great addition to the project. Can you connect a fire-wire to a flip? This way I can continue to use my DV camera to video the piece. I guess I also need another set of hands attached to a brain. Anyone interested? :)

I recently submitted a 60 Second Dance Film to Dansens Dage for their 60Secondsdance Competition. We'll see how it turns out in the end, so far they have 120 applicants and the first place winner gets €1500 and the runner up receives €500. All the applicants have to follow very specific rules including adhering to exactly 60 seconds as well as following a general theme of "place" or "sted."

Check out my video:


The film is titled, "Conversations with Yourself" because all the movement is derived from the solo I am currently working on with the same title. The additional footage of tree branches and sunlight, although taken for the purpose of this competition, adhere to the ideas of the gleaming, over exposed and sun-strewn projections I envision for the final performance solo work as well.

Who's making dance films and installations? I am!

I'm currently working on a dance film to apply to Dansen Dage's 60 Second competition as well as an installation for Culture Hub's Mediated Motion exhibit at La Mama's Gallery. Who know's if I will get either of these, but both are really great ways for me to expand on some of the dance projects I am already working on with film and installation.

For the 60 Second competition, you have to create a 60 second dance film in a limited amount of time about 'place' or 'sted.' Being that the application is due tomorrow, my limit was about a week and a half. So, I took to the studio with my newest costume piece (a light pink silk dress) to film the solo I've been working on ("Conversations with Yourself") and am now editing them into a film. Looking at the body through the camera lens is pretty fabulous, I'm noticing that I like seeing the body up close more and more. My partner in crime was instructed to film me at all levels and get interesting angles including from above, up close, feet, torso, arms and head, etc. We then took to the park to film some of the same movements in the park in boots and jeans (note: turning in boots on grass is hard).

For the installation, I've been working on creating an interactive representation of Robin's moon solo (See Related Post). Using the projection of the moon, I'm creating a way for passers by in a gallery to be inside the moon with live-feed. I'm still working on design elements and logistics.

During last Tuesday's rehearsal, Robin and I took two hours to make subtle changes to the piece. We began shifting her spacing to effect the shadows within the projected exploding stars and addressing moments where she can follow or touch the projections. I think this is helping us to figure out where her character might be going. From the very beginning we created this solo based on images of statues and paintings of Greek and Roman moon goddesses Selene and Diana. There are moments of hunting, drawing arrows and fighting amongst the changing constellations and the large moon. But within the solo, what is the character saying? Why is she saying anything at all? We are still working to really find that out.

We tried a new song within our current soundtrack of the more ephemeral "Instrumental" and "the Mooooon (version)" by Microphones. "It's like reaching for the Moon" by Billy Holiday begins as the moon and Robin meet for the first time. I'm not sure if it is a little too cute. When I downloaded it, I was thinking along the lines of a smokey club in the 1930's with a sultry woman singing, not something that makes you want to do the west coast swing. :) But that doesn't mean I don't like it. It changes the whole mood of the piece when the new song comes on. I definitely enjoy the change. However, I'm questioning this specific song because it is about reaching for the moon, and when you see a big rotating moon come on stage, perhaps that doesn't leave much more to be desired? Do we want a superficial crowd pleaser moment? If so, is this too far? Perhaps it could go toward the funny side of things? After all, we don't want to take ourselves that seriously, right?

I'm continuing to think about the next half or evening length rendition of "The Making of Statues" and I'm kind of liking the idea of showing a taste of each goddess individually. There are a couple group moments and/or duets that I really like, but other than that I'm enjoying the idea of trimming the fat, so to speak. We will see how that turns out.

Toward the end of this rehearsal, I showed Robin what I had been doing with my solo. She could think of several parts where things popped out at her and spoke of specific gestures and moments. At one point during the solo, I cough. Robin said my first "bodily function" was very surprising and she didn't know if I just had to cough or if it was part of the choreography. The only other "bodily function" I perform in the solo, so far, is a sneeze. :) Just so your imaginations don't drift too far.

I'm hoping to schedule a showing soon. So if your interested in attending please let me know!

In this week's rehearsal with myself I added onto what I'm calling "Conversations with Yourself."

“Conversations with Yourself” is currently a movement exploration working toward a solo. Finding a way to make my art connect with the audience and touch something inside of them is very important to me and the only way I know to begin to address the problems discussed by Bill T. Jones in the MR interview when he said, "how do you have an informed public even have a taste for the type of work that...I enjoy? It has to happen from us."

In exploring the physical reactions we have to emotional, personal and everyday encounters resulting in the small gestures and reflexes that are produced from these encounters such as a sneeze, shrug, rolling your eyes, scrunching your lips, biting your cheek, laughing or dizziness. I am deriving large physical movements from these reflexes/gestures as well as incorporating the original gestures to create a deep resonance or familiar connection with the audience. My plan is to use this method to devise the movements for a final solo. Although I already have ideas for projections, I want to perform the solo first with no projections and get feedback on it's resonance before adding additional stimuli.

In this week's rehearsal, I began again by remembering last week's rehearsal, layering in more concrete transitions and intentions. Then I came up with as many recognizable hand gestures as possible and videoed an improv, requiring myself to use the hand gestures in the improv as much as possible. When I watched the video, I thought it was interesting that my improv looked much like a phrase from Alexandra Beller's class and since she's already doing that, I decided to go further. So, I then gave myself new parameters, requiring the hand gestures to be done at the same time as the physical body movements such as a turn, jump, kick etc. This was a difficult task, and didn't always happen in the improv, but after I watched the video, I could then select specific sections I liked and then taught them to myself. I thought it was really interesting as well how detailed my improvisation was, making teaching it back to myself quite difficult.

So far the material I've created and kept has gestures consistently throughout. However, since I've now compiled contradicting gestures, emotions and postures from these everyday encounters, I wonder if a story or consistent emotion can be drawn from a solo that is comprised of such a schizophrenic score.

In rehearsal with Robin this week we got the chance to explore the projection of the moon in turn creating a new section within the solo.

Prior to rehearsal I created a series of projections of the moon passing from stage left to right, diagonally and a mixture of both as well as different sizes, i.e. having the moon encompass the whole stage, floor to ceiling, and the same size and smaller than the back projected surface. By creating and repeating a structured improvisation score, we discerned that the image of the whole moon projected on the back wall was the most visually satisfying and also allowed her to explore the entire moon.

Within our improv score we included the following rules:

• To keep her shadow inside the moon


• To explore the edges of the moon with different edges of her body


• To try to stay in the center of the moon


• To move downstage 3x and upstage 3x

We created a spacial trajectory allowing her to press off the surface of the moon, then notice her shadow as she came away, introduce a shadow that encompassed the whole moon and finally slip out of the moon. As we repeated the improv, we found several specific moves that we kept constant within the improv and let all other movements be chosen by Robin as long as she stayed on the set spacial trajectory.

Moon Solo Rehearsal from Tara Lee Burns on Vimeo.

Robin Neveu Brown rehearses a solo from The Making of Statues on 2/22/11. We have been exploring her relationship to the moon through structured improvs inside the moon, allowing her shadow to explore the inside of the moon, to move the moon, lie down in the moon, fill up the moon, touch the edges of the moon, etc.

I'm really enjoying rehearsals with Adele lately and finding that the way the company is growing together and expanding on ideas of performance and individuality suit me very well. I'm finding that since I'm enjoying this process so much, I am starting to bring a lot more of that into my own work as well and it makes me question if I'm "allowed" to do that. I'm not using the movements I do or create for her or stealing her thematic concepts but I am drawing on the performative models we have started to develop inside of her rehearsals as well as the methods she is using to achieve them.

In my own rehearsals this week, Robin and I further explored her connection with the projections. I allowed Robin more time to wear the movement, running the piece as much as possible with the projections as well as giving her different things to think about each time. Determining that she was allowed to deviate from our predetermined movement vocabulary to look at the projections and interact in various ways seemed to be a breakthrough for us.

I asked her through email to send me the tasks I had given her in rehearsal and she wrote back with some fabulous tidbits and takes on those interactions.

Here are those tasks and her comments on them:

Task: To look back at the projections at different points to see if I can let that dictate my spacing and set up our relationship.

Robin: "I don't know how well I have done this one because I am still following the basic preset spatial patterns of the solo. I think that, if I do even notice a sparkle that I could go to or get in front of, it's too late and my muscle memory has taken me to a different spacing."

Tara: This is a fabulous note and hopefully in the next rehearsal we can really dig into allowing not only deviation from the movement vocabulary like we did in this rehearsal but in the spacial patterns as well.

Task: To acknowledge the projections that are on my body so that I acknowledge being a part of that world.

Task: To let every execution of the solo be different so that I don't become married to the choreography but instead am being present and alive within the dance and its relationship to the projections.

Tara: I just have to say that this sounds so yummy to me.

Task: To stay inside the moon. But not as a feeling of containment or limitation but as an idea of filling up the space within the moon as much as I can with my body, stretching out, distal points, etc.

Tara: Again, I have to say how yummy this sounds to me. :)

I can't wait to get into the studio next week to tryout new spacial improvs based on reactions, altered projected environments and lengthening the moon section to incorporate a bit more "filling up the space within the moon" or unconfined containment.

I also worked in the space on my solo this week as well. I actually have a good 7 minutes of solo material and already have ideas for projections. I'm not married to the order of the movements I've been creating but have been experimenting with laughter, facial expressions and gestures combined with physicality. I am still working with a lot of the same questions I proposed last week, nothing has been solved and I believe I am at a point where I need an audience to determine if I'm on to something or if I'm just blowing smoke. :)

Here's to blowing smoke, if nothing else it's fun.

For the past two weeks I have been both rehearsing new solo material as well as refining a solo created in collaboration with Robin Neveu Brown from The Making of Statues.

In rehearsal with Robin, I am experimenting with ways of connecting the projections with the movement. When we originally created the full 30-minute version of The Making of Statues, I was working with first the large scope of the project and second with the idea that the projections were the environment or atmosphere where the dancers lived.

I now want to understand Robin's physical relationship to the projections to further facilitate understanding and purpose. I'm beginning this process with Robin because her solo already had some connections and now we can really draw out more and find out why she is amongst exploding stars and what effects the enormous rotating moon has on her.

In our last rehearsal, we began to find ways for Robin to manipulate the exploding stars projected on her and allow them to become pieces of her, this makes me wonder if I can create an engine that allows her to do this in real time instead of timed with the video. Ut-oh, that sounds hard!! :) I like it!

In my solo rehearsals, I am exploring the emotional reactions we have to situations and the small gestures or reflexes that are produced from situations whether it be a sneeze, shrug or even laughing or dizziness. I then began to derive large physical movements from these emotional or reflexive mannerisms. I began rehearsals with writing down mannerisms and linking them with emotions. For example, the emotion of 'longing' would be linked with the mannerism 'sneeze.' I would then create movements from the emotions and link the movements to the mannerisms. I'm already confused. :)

I've also been working a different way, by simply improving and recording the outcome of the following simple structure: While allowing myself to follow the emotions that the music produces in me, go through the lists of mannerisms and connect them randomly with the emotions and the movements created from these emotions. So far this creates adagios because my brain hurts, but it does produce more interesting material than creating the movement by myself, so far. :)

Further questions:
I'm curious if we would be able to derive the original mannerism or emotion from one that is distorted into a larger physical movement.

Are my facial expressions genuine to the emotions I am trying to achieve or am I making a generic furrowed brow, a smile, etc. How do I recreate a feeling of dread or happiness or agitation with larger movements on a stage for performance each time it's performed? Will these feelings penetrate the 4th wall?

Conversations with yourself: When I'm going over a conversation I've had or planning a conversation in my head I often produce facial expressions and gestures while I'm walking down the road by myself. When I catch myself, I wonder if others saw me what they would think. I wonder if people can actually tell I'm doing this? What would this mean for a performance piece. Can it be incorporated into a work? Can the audience see the facial expressions if I were to incorporate them?

So many questions, so little time. :)