Category Archives: I Have Lived 1000 Years

Teaching A Thousand Years in 90 Minutes or Less

Last week, this video popped up in my Facebook newsfeed, showing college kids being asked questions about the Holocaust…and being unable to answer them.

Now I don’t expect people to be experts on the subject matter—I’m certainly not one myself—but some of these kids couldn’t even answer name which country Adolf Hitler led during WWII.  Another student thought that WWII was waged 300 years ago!

Stretch - Calista FaceThis is a critical gap in our education system.  In past blogs I’ve explored how ignorance and indifference fueled the Holocaust grow from one extremist party to a world war, and the danger lurks not just in the past, but in the present.  When we hide ignorance and hate, or ignore its potency, we give it room to grow untended.  We cannot prevent the Holocaust in 2013, but we can use the knowledge gained from the experience to combat genocide today.

The video makes an excellent point that these students are not to blame for their ignorance, but their lack of education.  As a teacher’s daughter, I know just how that time is almost as tight as money in public schools.  But I also know that the responsibility of education does not fall solely on the shoulders of the teachers themselves, but on each and every member of the community.

This particularly applies to the arts. I’m sure we’ve all heard about arts funding being the first to go in budget cuts, and I’ve heard many debate about the usefulness about the arts and humanities at all.  Shouldn’t we have more doctors, more engineers, more teachers!

The answer is yes, of course!  But we also have a vital need for those who can see the whole story, and tell it to the engineers, Stretch - teachingthe doctors, the teachers, the lawyers.  Armed with that information, they can do their work that much better.  But how can a doctor treat a wound they don’t know about?

This is why I Have Lived a Thousand Years and other educational projects from outside of schools are so vital.  We can provide vital support to our struggling schools and give direction to the students of tomorrow, whether they want to be dancer or a doctor.

It doesn’t take much to made a difference. A 90 minute show can be the introduction of a new generation to a brighter future.

What You Missed While Watching A Thousand Years…

I bet that after watching our preview video, you may think that you’ve gotten all the juicy parts from Stretch Dance’s Stretch - Watchingproduction…but you’d be wrong.

Heck, I didn’t know what I was missing, and I’m in the show!

We had a chance to view the video of the whole show back when we filmed Applause.  To be honest, I thought I’d be bored rewatching the dances that we’d rehearsed over and over again.

Boy was I wrong.

It was an out-of-body experience for me.  It was surreal to watch the steps that I’d repeated so many times, and yet be surprised by moments in the show that you miss as a performer.  There are so many snapshots that stick in my mind—particularly of the scene about “Is It True About the Smoke.”

While performing, that number is a whirlwind of emotions and activity.  Not only am I rushing from costume to costume in the space of a few counts, but from one extreme emotion to another.  Not to mention I have to make it across the stage in four counts without running over any of my fellow dancers while still attempting to look graceful (that’s what we really go to ballet for all those years for).

But watching the piece…it was breathtaking in a totally unexpected way for me. To see the scared victims transform into the breezy, white dancers was quietly, profoundly beautiful to me.  It wasn’t my favorite number to perform onstage, but it was my favorite to watch.

And yet, as amazing as it was for me to watch the show, I couldn’t help missing something of my favorite elements while performing it: sound.

My sister—my inspiration for becoming a dancer—always jokes that dancers are meant to be seen and not heard, but it’s amazing how sound in dance can truly link up the dancer and the music.

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Some exhalations were choreographed into this number. It fit with the emotion and helped keep us together!

There are a few moments when we were choreographed to breath together, o.r for Jill to hum softly in parts of the show, but even just the natural sound of the movement contributed to the pieces.

I remember standing in the wings while Jill performed “Teen Vanity”—the chapter where Elli sees herself in the mirror for the first time after being shaved and starved.  I couldn’t see her at all, but I could hear her strangled breathing, the hard thud as she executed a huge leap, the soft swish as she turned.

These sounds made the taped soundtrack a living collaboration between the musician and the dancer.

So next time you have a chance to see live theater—Stretch Dance Co.’s new performance or otherwise—go out and see it.  Don’t settle for a recording, or a photo, or even a blog entry.

You’ll never know what you may miss.

Stretch - Denai White Words

Guest Post: Designing I Have Lived a Thousand Years

Gabriella Rose Lamboy is Stretch Dance Co.’s costume  designer.  Gabriella talks about the challenges she faced designing I Have Lived a Thousand Years that was both realistic and accommodating to the  demanding choreography for the dancers.  

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Though the costumes look uniform, each has its own details depending on the dancer

I wanted to be historically accurate when designing the women’s prisoner uniforms, but I also needed to accommodate the dancers.  The actual uniforms were made with a very stiff, scratchy cotton fabric – which is not ideal to dance in.

I spent a day in the LA Fashion District on a hunt for the right charcoal grey fabric. The hard part was finding a fabric that was stretchy, but would still appear thick onstage. After a full day’s search, I finally found the perfect fabric in the last store I went to! The rest of my shopping list was easy: notions, buttons and paint.

I started by using a regular men’s polo shirt as a pattern. I cut it into sections and made the pieces longer to create more of a dress-like shape. I then sewed all the pieces together, added buttons, and hemmed the dresses. But was I finished?

Not quite.

After creating eight perfect uniforms it was time to grunge down. I used a seam ripper to distress the uniforms, adding frayed edges and ripping holes. Some uniforms got a bit extra treatment because they needed to look more worn for the women who had been imprisoned longer.

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Gabriella’s costumes meshed perfectly with Brittany Vardakas’ makeup.

As a finishing touch, I watered down acrylic paint and used a sponge to add dirt and sweat stains, focusing on the areas that would get the grossest: the bottom hem and underarms.

But that wasn’t quite enough.  To complete the look, I spattered various yellows and browns to give the look of mud and other unmentionable stains. Lyndell wanted the dancers to feel disgusted putting the costumes on, and I think I was able to achieve that. (Laura’s note: object achieved!)

The most rewarding part of this experience was getting to see my costumes transform into the people from the memoir under the stage lights. It was emotional–and a little bit sickening–how real the grotesque makeup and costumes seemed.

This is a very powerful show and I am excited to see how it transforms to better educate future generations.

–Gabriella Rose Lamboy

Gabriella
Gabriella looking fierce!

A Dancer’s Perspective: Dancing Through the Darkest Moments

Missed our preview performance?  Get a front row seat with pictures from our performance!

A few weeks ago, I posted the most commonly asked questions about our show.  One of them was about how the dancers in the company deal with the emotionally heavy subject matter of the show.  One patron even asked what the hardest chapter was to perform.

None of these chapters are particularly sunny, but the hardest chapter for me is one of the most uplifting in the show: Chapter 22:Tattoo.

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In this chapter, Elli’s ailing mother is revived by a sudden rain fall.  Elli and her fellow prisoners open their mouths to the sky, tasting their first untainted gulps of water in months.  Many of these prisoners are on the verge of death from thirst, starvation, and overwork, and this sudden downpour gives new life to the shattered lives of the inmates.

It’s supposed to be an uplifting—if haunting—chapter, and is one of the few times we see the inmates in the concentration camp rejoice, if only for a short while.

I suppose that’s what makes this chapter so hard for me.  This was the first chapter where I felt a visceral connection to the material, and helped me find my way into the rest of the show.  It was hard for me to put myself into the shoes of these people—especially because you know that these were real lives of those who lived and died.  My brain understood the connection, but I couldn’t tie my emotions to the thoughts.

Until Chapter 22.

For me, I spend the first half of the number facing the back, which gives me time to settle into the abandoned music box quality of the music.  I remember looking forward to the next break during our first rehearsal of the number, because I was dying for a drink of water.

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The rest of the dancers stand in the back during Anne’s touching solo.

It hit me like a sucker punch to the gut.

I could see the span of what I might feel in a similar situation.  I would hate the people who were slowly killing me, hate that no one did anything to stop them, I would hate myself for my body’s weakness.   I would think that everyone—even God—had abandoned me.

And that was the point in the music where the “rain” began.

Was this an answer to my prayers, or just a cruel trick of nature? I couldn’t help but wonder who else might have had those thoughts during the actual event.  And the relief from the rain brought a dangerous emotion: hope.

There is a safety in being locked in the grim routine of the camps, in not caring about the future.  But to hope?  Hope gives you something to lose in a place where you cannot afford to fall behind.

As I realized this, far from the tragedies of the concentration camps, I was again astounded at the incredibly courage of Elli and her family.  To continue to have such hope, even in the darkest of circumstances must have been almost impossible to sustain.  And yet she did.  And still does, in fact.

So while Chapter 22 may be one of the most difficult portions for me to perform, it is also the most humbling and inspiring of the passages.  I can never truly understand the suffering of those who went through the Holocaust, only someone who lived it can.  But this chapter, to me at least, reflects the greater message of this show and memoir: a message of hope and compassion even in times of terrible darkness.

I would love to hear what my fellow dancers have to say about their toughest or most inspiring moments in the show, if only to give me a break from rejecting the spam comments! 

 

Stretch - Donate

 

 

Stretching the FAQs: Questions from Our Preview Performances

First off, all of us at Stretch Dance Co. would like to say a huge THANK YOU to everyone who came to our preview show this past weekend!  It was an incredible experience for us to show you what we’ve been working on.  For those of you who missed it, don’t worry!  We’ll still be posting videos and updates on our Twitter, Facebook, and website, so…

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This weekend was a great opportunity for us at Stretch because it was the first time that we got to hear some audience feedback.  Some of the questions were expected, some took us by surprise.  Here are some of the top FAQs from our audience:

How do you deal with the emotional strain of a show about the Holocaust? (This was the most asked question by far!)

While I Have Lived a Thousand Years is a very inspirational account, the Holocaust will never be—and should never be—a light-hearted subject matter.  That being said, we’ve joked about getting a puppy to cheer us up after particularly rough rehearsals.

It helps to know that the Dr. Livia Bitton-Jackson is still well, and lives a very full life in spite of her traumatic experiences.  Lyndell linked us to a phenomenal interview with her, and it is amazing to see her composure and gentle spirit (you can check it out here if you want to see!  You can create a log in for free).  For me, it helps to know that by bringing her story to life through dance, we are hopefully preventing its recurrence.

Stretch - Puppy Mascot
The puppy mascot would be available after performances to cheer up audience members, too!

 

Which orchestra played for the soundtracks? 

No orchestra, just one man!  Our composer, Robby Greengold digitally compiles all the music and different instruments to create the tracks.  We hope to raise enough funds to eventually hire an orchestra to record the tracks, but for now, we make do with Robby’s one-man band!

 

Do they still teach the Holocaust in public schools? 

Stretch - Family
Stretch dancers come from different backgrounds, but have the same passion!

Most curriculums cover at least some portion of the Holocaust.  However, as budgets steadily grow tighter and resources are stretched thinner, students today may not get the same exposure to the material as past classes.  I remember visiting the Museum of Tolerance several times while I was in school, but some schools now cannot afford even the buses for field trips.

Furthermore, our production is a fresh perspective of the Holocaust.  Many people in the audience were surprised at certain facts from the memoir, particularly in what the prisoners were forced to eat and drink.  Our production can round out and fill in the holes in the current high school curriculum.

 

Is everyone in the cast Jewish? 

Nope!  Some of us are, but  others in the cast are not. Just as we come from many different dance disciplines, we all come from different backgrounds, but we all feel strongly about the subject of compassion and tolerance.

 

How can I get involved? 

Contact info@stretchdanceco.com to see how you can get involved!  And of course, don’t forget to follow us on our social media! Or you can…

 

Stretch - Donate

Chapter Summary: Part 3

Our preview performances are THIS weekend!  Please join us as we bring this story to life!  

Stretch - Supprt

Despite rumors of Hitler’s death, Elli and her mother are tattooed with a serial number; liberation does not seem close.  Elli worries as her mother’s strong will begins to crack.  The constant toll of starvation and thirst are taking its toll and Elli must convince her mother to continue working, for the alternative is a death sentence.  Fortunately, a rainstorm brings life-giving water with a thin thread of hope.  Even beaten, shaved, and starved as she is, Elli finds her mother beautiful in the wash of rain.

Elli and her mother slept in wooden beds like these.
Elli and her mother slept in wooden beds like these.

But this new strength will not last.  Elli and her mother are moved to new barracks with wooden beds.  Though the army blankets are an improvement, the unwieldy beds accommodate twelve women per square and are packed with rows of people.  The bunk above them cracks under the weight of so many and collapses on her Elli’s mother.  Despite her pleas, the women on the bunk above do not move off of the bunk, trapping her mother until fellow inmates help dislodge her.

Elli’s mother is taken to the hospital where a doctor tells Elli that her mother is paralyzed and will not regain consciousness.

Elli finds a small hole in the hospital wall right next to her mother’s bed.  She is able to whisper words of comfort to her mother in between her work, but she must be careful as it is forbidden for prisoners to dawdle around the hospital.

A guard finds her outside the hospital and Elli is punished.  She is forced to kneel for 24 hours without food or drink, and cannot move on pain of death.  As she kneels, Elli watches a new batch of prisoners enter the camp.  Elli is amazed to see people entering the camp looking well-fed and without the posture of an inmate.  As the column marches towards the columns of smoke, Elli fears that the stories about the gas chambers and the crematoriums are true.

As the month’s selection draws near, Elli fears for her mother, who is still in the hospital.   Despite the original diagnosis, her mother is not completely paralyzed, but cannot walk unsupported.  Those who do not pass the inspection disappear. Knowing that staying in the hospital would doom her, Elli and her old neighbors from her village help smuggle her mother out of the infirmary.

Annie portrays Laura Friedmann (Elli's mother) in our production.
Anne-Marie Talmadge portrays Laura Friedmann (Elli’s mother) in our production.

In a twist of fate, Elli’s mother manages to pass inspection, but an old wound on Elli’s leg keeps Elli held back.  Knowing that staying would cost her life, Elli sneaks back into the selection line, covering her leg with her dress.  The soldiers do not recognize her and Elli rejoins her mother.

Though they have survived the selection, they are far from safe.  A minor scuffle over a handkerchief nearly gets Elli beaten to death by an SS woman.  However, their harsh treatment lightens when they are moved to a new labor camp at a German factory.  They are given soap, towels, and even real clothes and winter coats.

As Elli delights in her newfound clothing, she reads the name of a girl sewn into the label of her coat: Leah Kohn.  Elli realizes that all the clothing belonged to other Jews—many of whom may be dead. Feeling that she is now an accomplice to the brutality visited on these people, Elli silently begs the former owners for forgiveness.

 

Chapter Summary: Part 2

This summary only covers the bare bones of the book, so if you have a chance, get out there and read the book for yourself!  It’s only 200 pages and a fantastic read.  Don’t forget to buy your tickets for Stretch Dance’s special preview performances.  

 

PART 2: 

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People were crammed into cattle cars like these during the Holocaust. Passengers were not given food or allowed off the train until they reached their destination.

On the cart ride to their undisclosed location, Elli talks to a young Hungarian soldier.  The friendly young man doesn’t know where they’re taking Elli and her fellow Jews from the ghetto, but promises to safeguard her book of poems.

Elli and her family are transferred to the hands of the SS and herded into cattle cars.  There is not enough room for everyone to sit, so those who aren’t lucky enough to get a spot near the walls are forced to stand and crouch for four days.

It is night when the cattle car finally comes to a stop.   There is confusion everywhere but it is impossible to miss the huge sign: AUSCHWITZ.  Elli follows her mother and Aunt Serena as they drift towards the group women walking to the left, but an SS officer grabs hold of Elli’s braid.  He stops Elli and her mother from following the other women, pointing them towards the other gate.  “You are sixteen now,” he tells the fourteen-year-old Elli.

The man was Josef Mengele, the Angel of Death, and the line of unsuspecting Jews had been heading directly to the gas chambers.

Denai portrays Aunt Serena in our production.  Come to the preview to see her amazing solo!
Denai portrays Aunt Serena in our production. Come to the preview to see her amazing solo!

Aunt Serena is not allowed to join Elli and her mother and is shoved back into the line to the left.  Though she does not yet know that the line leads to the gas chambers, Elli calls out to her: “Aunt Serena!  Aunt Serena!  I’ll never see you again!”

Once in the camp, the Jews are stripped of their clothing, their hair, and their dignity.  In their place, they are given a sack dress with no other clothing to protect from the elements.  However, things lighten when Elli and her mother find other members of their family; Aunt Celia and her cousins.

Life in the camps is brutal. They labor for twelve hours and more in the hot sun without protection and with little water.  What little water they do manage to find is filled with gravel and putrefied water, and their only dinner is a thin soup seasoned with sawdust and worms.

At first, Elli cannot drink the fetid water, but circumstances numb her more and more to the inhumane conditions.   Rumors of gas chambers circulate the camps, but no one dares to speak out of it. The threat of death and punishment loom over their heads.

Stretch - Jill
Jill truly captures the spirit of Elli Friedmann in our production.

Working conditions worsen at the labor camp, and an ill-timed downpour brings down the wrath of the SS soldiers on Elli’s group of workers.  The chilling rain had slowed the work of the prisoners, and Commandant Goetz orders that one out of every ten prisoners must be shot at dawn.

But when the dawn breaks, no SS officers come for them.  They are lucky. A factory in the north has risen up in revolt and has focused the SS’s attention.  Elli and her commando are safe for one more day, at the expense of the lives lost in the uprising.

Stretching Past the Limitations

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Lyndell is always on her game!

I know we make it look easy, but putting up a brand new original production with a young company can have a lot of pitfalls. Luckily, our fearless leader Lyndell has thought of a way around several of the issues.

How does Lyndell choreograph for dancers from different styles?
Our company consists of dancers who have studied anything from hip hop to flamenco, so you’d think it’d be incredibly difficult to make the corps pieces looks cohesive and strong. It probably is, but Lyndell makes it seem easy. Though all of us in the company come from a different dance background, everyone has an incredibly strong acting ability that helps knit us together. The movement in the group pieces is often very fluid and simple, but uses timing, ripples  and acting to keep the pieces dynamic.

Stretch - Anne

The dance solos are a very special treat. Lyndell tailors each dance to the soloist’s abilities and strengths, so each solo is absolutely stunning to watch! The solos are where you’ll see the flavor of where each dancer comes from, which makes the piece much more personal to us as we continue to build it.

How do we get by with just one rehearsal a week?
The great thing about rehearsing once a week is that we can slowly build our company. Many of us perform in other productions at the same time, and all of us have at least one other day job. Though it can be tough to keep the energy going at 9pm on a Saturday night, it’s great to end our week with Stretch! It means that each dancer has some homework when we go home, but it also gives us more time to work on the story behind movements.

It can also be difficult when performers are absent due to work and other shows, but we take a video (not the ones that you guys get to see!) of the combinations each week so that everyone can catch up and stay on the same page.

How do you get the word out about a young company?
Our social media extraordinaire, Matt Lardner, does a fantastic job of updating Stretch Dance Co.’s Facebook, Twitter, Pinterest, and makes our amazing videos each week. It may sound silly, but social media can mean a lot these days. Besides, it’s a great way to share with our friends and family everything that we’ve been doing!  And of course, we’re using our Preview Performances to get the word out and give you a sneak peak into the amazing work that we’ve been doing.  Hope to see you there!

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Dance: When Words Are Not Enough

NEWS ALERT: We’ll be having a special GUEST POST from the granddaughter of Livia Bitton-Jackson, Laura Faiwiszewski* this Friday! And don’t forget to tune in for Stretch Dance Co.’s important announcement on Thursday!

Stretch - CharlieDuring our last rehearsal, each dancer had to describe the show in one word as part of a promotional video that will be coming out this week.

You would think that finding one word would be easy after writing out several thousand of them for this blog, but I found that I was tongue-tied…and I wasn’t alone. I wish we had an outtake reel of all of us oohing when someone said a good word or stuttering out three in a row in the hopes that we could create a mega word that would somehow capture everything (supercalifragicourageousinspirationalmovingdocious?).

How can I say everything in one word, I thought, when this is so far beyond words?

Which, when you think about it, is really what this production is about.

In theater, they say that you only sing when your emotions cannot be contained in words, and you dance when your emotions cannot be contained in song.

The emotions run so high in I Have Lived a Thousand Years that words only convey a fraction of the story, but dance can connect those phrases with living poetry that transcends language and cultural barriers.

Whereas written and spoken words have a feeling of finality and definition to them, dance engages the audience’s imagination; they must imagine the words that could have been. In imagining themselves in the positions of these people, they can form a stronger connection to the material.

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I Have Lived a Thousand Years stands out from many other Holocaust pieces because it is not simply a memorial for what has passed, but an investment for the future. We want audiences to connect with the material so that the next time they face adversity or cruelty, they can perhaps take strength from those who have come before us.

It’s easy to paint the Holocaust in the bleak grays of history gone by, but Denai is Awesomethere was more to these people than just sadness. Livia Bitton-Jackson’s memoir does an amazing job of highlighting the humanity of each person in the book, of their personal moments of brilliance and strength in a dark time.

With dance, we hope to capture some of that complexity and add a new facet to Livia Bitton-Jackson’s compelling story, taking her knowledge beyond words and into our hearts.

*I think we should make it a rule that all posts be written by people named Laura 🙂

A Day of Rehearsal in a Thousand Years

This week I thought we’d take a little break from Holocaust history and take a look at the rehearsal process that goes into building a show like I Have Lived a Thousand Years. If you watched last week’s video, you already have a bit of an idea of what goes on (if you haven’t seen it, then go watch it now!).

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We’re one big happy family!

Since rehearsal is once a week, the first few minutes are filled with a lot of hugging and weekly recaps of our lives. Some of us have known each other from previous shows and start dusting off old inside jokes (This is also the point where we make loud comments about how sore we are in the hope that Lyndell will go easy on us during warm up).

Spoiler alert: she never does.

Lyndell’s warm up is a mix between classical ballet and the exercise routine that Rocky Balboa abandoned because it left him in tears each day.  Since we have dancers ranging from hip hop to contemporary to flamenco, the warm up gets on the same page as far as dance technique goes.

Hold and Cry
The “Hold and Cry” combo, guaranteed to bring a dancer to their knees.

It also serves as a great bonding experience. If I Have Lived a Thousand Years doesn’t work out,  this company has great potential as a standup comedy act, so long as we performing under balletic duress.

After warm up, the rehearsal really gets going.

Lyndell’s way of approaching dance pieces is different from any other choreographer that I’ve worked with. She spends a lot of time talking us through the piece, not only telling us the context, but the greater meaning behind the dance and how it relates to the rest of the show, and the arc of our emotions throughout.  We may even get a bit of a history lesson.

By this point, the jokes have died out and everyone has their game faces on. Each week brings a challenge: sometimes it’s just trying to perform the dance steps correctly or manage traffic patterns. Other weeks, it’s hard to connect to the emotional turmoil of those who went through the Holocaust.

Fearless Leader Lyndell
Fearless Leader Lyndell hard at work!

Once we finish the day’s group piece, Lyndell works with some of the soloists.  Anyone can stay behind and learn the solo, but most give into hunger pangs and grab a bite to eat.  Our social media expert Matt catches a few interviews with some of the dancers, and that’s a wrap!

Be sure to stay on the lookout for the pics and videos coming out this week!  We learned an extra dance for National Dance Day, so mark your Saturday calendar!