Скачать или смотреть Jessica Quiñones interviews Zara Lawler, a flautist and interdisciplinary performer , Spring 2016

Join professional flautists Jessica and Zara as they 'talk shop' about combining dance and flute playing within inter-disciplinary performances.

A summary of what we talk about in this interview:

• How a Julliard-trained flutist ends up having a career that involves dancing with her flute

• The feeling of being an outsider in wanting something different for your art, ( "when you are charting your own path everyone feels like an outsider at some point")

• How to create a new way of performing (from literally, nothing)
• Why it's ok to not want to be a performer at all

• Zara performs an excerpt of Andersen op. 33 no. 6, interweaving music and text and movement inspired by dancer’s Martha Graham’s quote:
“I believe that we learn by practice. Whether it means to learn to dance by practicing dancing or to learn to live by practicing living, the principles are the same. In each, it is the performance of a dedicated precise set of acts, physical or intellectual, from which comes shape of achievement, a sense of one's being, a satisfaction of spirit.”

• How does Zara choose her choreography?

• Andersen Op. 33, no. 5 with text by Rumi and also demonstrating text, song and movement

“Birdsong brings relief
to my longing.
I am just as ecstatic as they are,
but with nothing to say!
Please, universal soul, practice
some song, or something, through me!”
― Rumi, The Essential Rumi

• Who are Zara’s audiences?

• Her work with the flute and marimba duo Lawler + Fadoul , plus her work as a teacher

• How she runs her career as if she was an arts organisation

• How someone might be able to use flute playing and movement from the start, or in a group setting.

• She discusses her downloadable E pluribus flutum, the performance piece for flute choirs, student groups, adaptable for groups of 8 to 100 flutists.

• Zara performs two excerpts of the Berio’s Sequenza and discusses how movement helps the memorisation of the piece when playing by memory

• Why you can still make interesting contributions to your playing without having a lot of training first

• We also discuss other musical artists who use movement, text, singing, and other theatrics in their performances:

Bevani
The Fourth Wall
The Nouveau Classical Project
Eunbi Kim