Lea Clay What is the intention behind your walks in plié with your hands on your thighs? You talked about it earlier as something heavy. Terese Capucilli You think about seeing yourself in a pond, seeing yourself in the lake; you see your reflection. It’s a heavy movement, both with the heaviness of it and with feeling the weight of it. Martha always talked about the fact that you have to have an image for something. Even if I’m looking down, I’m looking at, through, something, so it has a physical response, but I’m actually looking into a lake. You’re looking at your self-image, and then being pulled back into the movement of the piece. It has qualities, the weight of the human spirit, looking at yourself as a woman, and where you are. This is a mother. Lea Clay When you bury yourself, it reminded me almost of a crucifixion, in that you lift yourself up against the bench. Is there any religious connotation? Terese Capucilli No, not at all. However, if someone is watching it and they see that, then maybe for them it is. There is that element, but Martha was not a particularly religious person, and it was never thought of in that way. Lea Clay I remember when looking at your notes that you had marked up a portion of “Play and Theory of the Duende.” Did you read all of it? Terese Capucilli I did read it, but after a while, I just focused on very specific parts. I didn’t really go into that very much. I know I read it and I underlined some things, like this, “Every man and every artist, whether he is Nietzsche or Cézanne, climbs each step of the tower of his
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