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    <loc>https://www.biglittletheater.org/interview-with-carly-dw-bones/blog-post-title-one-crla7</loc>
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      <image:title>Interview with Carly DW Bones - Interview with Carly DW Bones</image:title>
      <image:caption>Carly DW Bones</image:caption>
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      <image:title>Interview with Carly DW Bones - Interview with Carly DW Bones - To speak to finding joy and laughter and release while telling a really heavy story: it's something we've talked a lot about as, as a cast and as an ensemble. There is a necessary release valve when you are embodying and telling a story that is so heavy. There has to be joy and a playfulness in the process. And our cast is so absolutely exquisite in both their level of talent and dedication, but also their level of care for each other. And I think because of that, there’s a lot of room to play. You couldn't tell the story with your body night after night if there was not a lot of love and joy within the process. And that's a really big part of my ethos as a director and somebody who has a background in intimacy choreography and trauma sensitivity. 97% of theater is like, hello actors. Will you reenact trauma with your body to an extent that your body doesn't necessarily know when it's real or not?! And do that for four nights a week, for five weeks, please, plus rehearsal. How do we actually make that sustainable?</image:title>
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      <image:title>Interview with Carly DW Bones - Interview with Carly DW Bones</image:title>
      <image:caption>At the end we always practice something called “de-roll,” which is something that comes from drama therapy, and a lot of intimacy professionals use it. It’s creating am embodied somatic ritual to release your character's trauma from your body. Actors are so well equipped with all their own paths to get into characters, but at the end of the work, it's just like, okay, have fun with that, bye! Sometimes, it's literally two minutes and we just have everyone ground and breathe. I love to guide a visualization of breathing a mist out of your body, brushing or shaking it off because different things get activated in folks on different days and you never know. Sometimes you don't even know till you'll, you de-roll and you're like, whoa, that was really heavy. And now I feel it leaving my body. Part of the commitment to care and sustainability is that you don’t need to be suffering your character's trauma outside of the rehearsal room.</image:caption>
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      <image:title>Interview with Carly DW Bones - Interview with Carly DW Bones</image:title>
      <image:caption>Tarot image by Zachary Bones.</image:caption>
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      <image:title>Interview with Carly DW Bones - Interview with Carly DW Bones - Right: Carly takes notes during rehearsal.</image:title>
      <image:caption>Carly : It’s another reason I just so appreciate this grant and what it's created to do, to uplift. Directors are so influential or can be, you know, if you let them. I love working on new work. I love playwrights. When I first was starting directing, I was like, I love actors. oh my God, what they do is incredible. I trip out about it all the time. But especially in getting to work on a lot of new play development over the last number of years, I've just discovered this deep love for playwrights and for getting to collaborate with a writer as a director. I love stories. I think that that's just always been how I've been able to process the world and connect to people. And so having influence on the generating of stories and using whatever parts of my mind, heart, and spirit I can to shed light or share different ideas is so exciting to me</image:caption>
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