Alston’s choreography Flashcards
Choreographic style
-Abstract, neo-classical style - no linear stories, narrative hinted at in a few works depending on the music
-Predominantly abstract treatment with much understated emotional overtones (except as suggested by the mood of the music)
-Complex music visualisation
-Movement vocabulary, phrasing and structure clearly informed by the music
-Strong interests in design elements and interaction with the set
-Use of motif and motif development
-A humane choreographer - works rarely, if ever harsh
-Architectural design of the space
Movement style
-One of the first choreographers to blend Cunningham, contact improvisation, release technique and ballet
-Austere modern style at times with curved and angular arm gestures
-Graceful lyrical qualities
-Ongoing momentum propelled by the music
-Driving through the pace in fleeting travelling work
-A range of dynamics are displayed with moments of extreme suspension combined with the tipping and falling of weight
-Fleeting footwork and skimming elevation through the space punctuated by striking moments of stillness
-Light tension, release and expansive movement qualities combined with off kilter balances
-Neo classical
-Tai chi influence - rapid shifts in direction focus of energy
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Process
-Inspired by Cunningham - not everything planned
-Choreographs more on the spot
-Improvisation
-Create movement phrases and motifs
Starting points/themes
-Based on music and visual art
-Does lots of research eg- Soda Lake
-Worked with dancers
-Open to interpretation
Influences
-ABC - Ashton (Early British Ballet)
-Balanchine
-Cunningham
-Experiences at LCDS
-Mary Faulkerson
-Twyla Thwarp (Judson Church Group - experimental)
-Work with collaborators
Themes
-Driven by the music/design - mainly plotless
-Abstract with cultural/historical references suggested by the music
-Design features provide additional reference points
Sources for vocabulary
-Cunningham technique
-Ballet techniques (Ashton and ????)
-Contact improvisation and release based styles
-A mainly music driven approach
-Social/cultural sources depending on the music design eg- sculpture integrated into the work and affecting movement choices
-Dancers allowed to make suggestions
Relationship with Rambert Dance Company
-First created work for Rambert in 1980. He was a key part of the choreographic trio under Robert North’s artistic directorship and taught Cunningham based company classes during this time. He became artistic director himself in 1986. During his tenure he changed the name of the company to Rambert Dance Company. He was dismissed by the board in 1992 as Alston’s vision (which he would not compromise on) for the company was criticised for being too focused on caller abstract work on the Cunningham based styles he preferred, (popular with knowledgeable dancer critics but not popular with the general public).
Training
-Initially studied fine art
-One of the first students to study at the LSCD and one of the founding members of LCDT
-Here he trained mainly in Graham technique and classical ballet and also Tai Chi, art as a form of greater good not always criticising society
-In the early 70s, he worked with Mary Faulkerson at ???? learning the release technique
-Mid 70s he travelled to New York to train with Merce Cunninghamn
Impact on Rambert Dance Company
-Alston, as artistic director from 1986 he initiated a new era of Cunningham influenced repertoire with cooler abstract qualities
-unlike Cunningham his preference was for unified exploration and presentation of movement design and music
-company classes were mainly Cunningham based
-contrast with Bruce and north in the repertoire, eventually responsible for the new neo classical idiom for the company. Not filled by emotionally driven themes.
-range of collaborators eg- reed, Mumford, Smith and fashion designers he provided an U approach to visual design in the works as an integral part of the choreography
-influence the soundscape of the company with his varied music choices
-offered new ways of working - dances making suggestions for movements
-he began the crossover with the classical and modern world as acts Royal Ballet dancer Michael Clark joined rambert as a dancer in 1979 to work with Alston and Ashley page, also a former Royal Ballet dancer choreographed a number of new works on the company
-1988 created Frederick Ashton memorial Commission to help younger dances to create work for example, Ashley page
Impact on other choreographers
-Close working relationship with LCDT contemporary Siobhan Davies. She was a dancer for him in Strider and then created Second Stride as a joint enterprise with Ian ???? influenced the movement style of other like-minded and classical choreographers Siobhan Davies and Ashley Page who were also creating works for Rambert. This helped refine the repertoire to establish a more coherent aesthetic approach for the company which was less broad and eclectic.
