Lea Clay You often reach outwards, are you reaching for something specific? You said you were being pulled at the end? You got up from being buried under the bench and then you said you were pulled backwards? Terese Capucilli I don’t like to say that this is what this means, you just look at it as a whole. I’m pushing the space in a certain way. If you’re desperate, if you’re a woman, it can be anything. It’s not what I’m thinking about. It can be that desperate reach that one day you’ll see your husband come home, it can be what do you see, you see a battlefield, but you, as an audience, what do you see? It really doesn’t necessarily even matter what I see. But you don’t want to pick it apart like that; you want to look at the piece as a whole. It’s the whole ballet that brings up the emotional response. Lea Clay Do you associate with a guitar in Deep Song? Terese Capucilli I don’t associate anything with a guitar. I don’t do anything with a guitar. Lea Clay I didn’t know that it was a piano being plucked. Terese Capucilli Oh, because it often sounds like a guitar—it’s not a guitar. I’m driven by the music and it’s almost like plucking harp strings, but I don’t think about it as a guitar. It’s the music and I’m not interpreting the music—it’s the music and the dance become one because the inner heartbeat is the same. The inner heartbeat comes from working with Martha very closely to create the inner heartbeat.
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