she is a dark woman wanting to catch birds in nets of wind. All of the poems of deep song are magnificently pantheistic; they consult the wind, the earth, the sea, the moon, and things as simple as a violet, a rosemary, a bird” (34). For me, in terms of Deep Song, and in terms of immersing myself into it, I can’t see the work or think about the work without thinking about dirt, without putting myself into the trenches, because Martha did talk about that, and what that would really mean to be in the wet of the earth, and then how the physicality could come out of something like that. “Only to the Earth do I tell my troubles” (34). This is really important. “[F]or there is no one in the world whom I can trust” (34). There are many different things in Lorca’s book that were important to me, but these particularly: “the woman of deep song is called Pain” and “only to the Earth to I tell my troubles, for there is no one in the world whom I can trust” (34). It’s so simple, actually, but the power of those words can take you through the whole dance. That’s your mantra; you just keep repeating that over and over and over again. It’s so powerful. So a woman as a mother, a woman as a wife, a woman as a sister, a woman as an aunt—you’re bringing all of that into play. There is also a moment where I come downstage here [Capucilli shows a movement in which she holds her arms in a cradling manner, as she walks downstage in a plié] and that sense of earthiness and of a mother and cradling, Martha loved that move. And for me it also brings the idea of Rodin’s images of woman. I looked at a lot of Rodin and images like that. The greatest thing about Martha’s work for me has been that I find great comfort in it not being me, at all. It’s not Terese dancing a dance about a woman. It’s what you end up doing by immersing yourself in the imagistic idea of things and what you are dancing that brings the characterization to life, that brings your inner dialogue. So when I talk about a mantra, when I talk about the idea that you can repeat something like a Lorca line about pain or earth, or you can just have an earth image, to be able do the whole seven-minute ballet, with deep physicality. So that was part of it for me, once the
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