ABSTRACT
A certain degree of shaping and editing takes place quite early on in the making process as Vardimon makes selections that will sustain her narratives and keep the pieces accessible, while fulfilling her desire for layered work open to interpretation. Later on in the rehearsal period, Vardimon begins to add the ‘covering layers’. This refers to a somewhat unusual method of gradually drawing in other elements, such as music, video projection, live camera feeds, costume, lighting or additional props at a late stage in the devising process. So for instance music, which is very important to the pieces, could become too prominent if added too early on in the process. Instead, the covering layers are added incrementally to increase the density of each performance and contribute to the potential range of interpretations available. Whether the viewer sees beneath the surface to the multiple views and meanings on offer is up to them. In this way it is clear that Vardimon deliberately courts the potential for each dance to contain surface and hidden layers with different viewpoints, even contradictory perspectives, embedded in the works.
