Rambert: SHAPED ARTISTIC VISIONS Flashcards
1
Q
How have the artists in charge of Rambert shaped the artistic vision of the company?
INTRO:
In this essay, I intend to show…
A
In this essay I will explore How the DIFFERENT ARTISTIC DIRECTORS of rambert, such as: Richard Alston, Robert North and Siobhan Davis, have MOULDED the company’s PERFORMANCE STYLE and ARTISTIC VISION through their own PERSONAL INFLUENCES and STYLISTIC FEATURES.
Each of these three choreographers initially went to art school as well as studying at the London school of contemporary dance and transitioned into the company.
2
Q
Cheeky intro to Alston
- while Alston was creating work for the company he was also creating more experimental work for an independent company along with Siobhan Davis called STRIDER.
- Alston was heavily influenced by Merce Cunningham, having studied with him in America for a year before returning to England to be the artistic director of Rambert from 1986-92
A
- one of the key stylistic features = CUNNINGHAM TECHNIQUE
- because of his time training with MERCE Cunningham in America
- based on a more AESTHETIC USE OF THE BODY seen via:
TILTING
TWISTING
CURVING
TORSO’s
With a more CLASSICAL VOCABULARY portrayed through the lower body - Cunningham contrasted greatly to the more expressive and evocative style pioneered by Martha Graham (1930’s)
- ALSTON used the ABSTRACT technique paired with a suggestive narrative (rather than an obvious one) leaving it up to interpretation of the audience.
3
Q
ALSTON
point
COLLABORATION
A
- one of Alston’s key stylistic features
- artists from other artistic genres, such as : composers, painters, sculptors and costume designers
- rarely created work alone
- many of his works at Rambert included elaborate sets and sculptures incorporated into the choreography
- many of the artists he collaborated with were also ABSTRACT, complimenting Alston’s movement style - on many occasions the work the artists made inspired the pieces Alston created in the first place
4
Q
ALSTON
evidence
COLLABERATION:
Brief intro to both:
A
- in both SODA LAKE (1981) and WILDLIFE (1984) Alston uses sculptures his collaborators have made as his set design/ physical setting
- Alston CREATIVELY EXPLOITS these while choreographing his movement
5
Q
ALSTON
evidence
COLLABORATION
WILDLIFE
A
- in WILDLIFE (1984) we see a range of GIGANTIC FLYING KITES (by RICHARD SMITH) suspended from the ceiling, which rotate as the dancers move around them
- the kites help conjure up the strange ‘other worldly’ mysterious landscape
- helping Alston portray an almost alien forest
- sharp angles of the kites inspired the sharp angular movements = example of collaborations direct influence over Alston
6
Q
ALSTON
evidence
COLLABORATION
SODA LAKE
A
- collaborated with Nigel Hall in 1981 SODA LAKE, to create an abstract work of art Inspired by aspects of The actual landscape as seen at Soda Lake
- which later turned into the set design that was suspended above the performance space
- again, Alston used the shape and form of the sculpture to inspire the movements as well as the costume, which is the same colour as the sculpture, allowing the dancer to look as though he is part of it.
7
Q
ALSTON
evidence
COLLABORATION
SODA LAKE
MOVEMENT EXAMPLE
A
- the dancer performs a SWIFT CIRCULAR run to the centre of the sculpture
- with his L foot places slightly in front of his R, in a parallel position
- he starts to lift up his arms from his shoulders, with a great sense of tension pushing downwards while they rise, until he creates an inverted second position of the arms, in an almost flattened back position with head held downwards, facing the floor.
8
Q
ALSTON
comment
COLLABORATION
A
- Alston’s close collaboration with other artists changed the look of Rambert
- his interest in ABSTRACT ART made the company a lot more influenced by CUNNINGHAM TECHNIQUE
- also creating a more AESTHETIC range of pieces inspired by the sculptural elements in the physical settings while Alston was in charge
9
Q
ALSTON
Point
CUNNINGHAM
A
- Alston’s love of Cunningham shaped all of his work and CONSEQUENTLY RAMBERT’S style while under his artistic direction
- the pieces had an ABUNDANCE of
TILTING
TWISTING
CURVING
TORSO’s
With more CLASSICAL VOCABULARY portrayed through the lower body
10
Q
ALSTON
Evidence
CUNNINGHAM
WILDLIFE
A
- examples of CUNNINGHAM’s influence can be seen in WILDLIFE (1984)
- loosely based on the musical score by NIGEL OSBOURNE inspired by a range of ethnic music from Africa (traditional instruments or songs associated with regions within)
- the music paired with the physical setting created by RICHARD SMITH creates a sense of mystery to the ‘other worldly’ piece which Alston explores in his movements
11
Q
ALSTON
Evidence
CUNNINGHAM
WILDLIFE
MOVEMENT EXAMPLE
A
- opening duet
- two dancers pounce playfully onto the stage, moving between the fabric kites (created by RICHARD SMITH) suspended above the stage
- each dancer has their own sequence of movement that are performed together or with the other still present in the space
- movement = classical in context
- seen through them leaping across the stage performing, rather clinical, matter of fact
JETTES
PIROUETTES
ARABESQUES
ATTITUDES - however the torso performs a range of TILTING AND TWISTING movements while this is happening, making the dancer seem OFF BALANCED WHILE POSING
- this typical Cunningham sequence helps Alston to portray his dancers as weird and animalistic, helping to keep the loose narrative he suggested
12
Q
ALSTON
Comment
CUNNINGHAM
A
- wildlife isTYPICAL of RAMBERT’S STYLE during the early to mid 1980’s while under the leadership of Alston
- creating a company which was much more ABSTRACT
- Merely suggesting themes and narratives rather than being literal
- Alston’s love of the Cunningham Technique and PASSION FOR AESTHETIC DANCE rather than character driven pieces gave the company a more MOVEMENT DRIVEN FOCUS
- rather than the story driven, theatrical pieces of Robert North and Christopher Bruce
13
Q
Cheeky into to NORTH
- studied at the royal ballet 1965-67
- secretly took classes at the London school of contemporary dance and then snook into company
- contrasting to Alston, North preferred Martha Graham’s style of contemporary and went to work with her in America, but left after a year as he grew tired of every movement having such meaning behind it and how emotive it was
- in 1981 he became the artistic director for ballet Rambert for 5 years, and his pieces showed his choreography to be a lot more populist that focused on narratives and influence of the music over the movements
A
- like Alston, ROBERT NORTH, choreographed most of his movements based on CLASSICAL VOCABULARY
- unlike Alston, North’s pieces were a lot more theatrical in their narratives and staging, helping to create pieces heavily based on story telling
- North uses a range of STYLISTIC FEATURES which have shaped Rambert and AS A CONSEQUENCE DEFINED RAMBERT’S style for a number of years
- one of his most prominent stylistic features being his FUSION OF CLASSICAL VOCABULARY WITH OTHER MOVEMENT STYLES
14
Q
NORTH
point
FUSION OF CLASSICAL VOCABULARY WITH OTHER MOVEMENT STYLES
A
- one of NORTH’s most prominent STYLISTIC FEATURE is his FUSION of Classical Vocabulary with other dance styles
- a clear example of this can be seen in ‘LONELY TOWN, LONELY STREET’
(1982, described as a JAZZ BALLET)
which highlights his fusion of CLASSICAL VOCABULARY WITH JAZZ DANCE - combined typically classical:
JUMPS
PIROUETTES
ARABESQUES - with more jazz based isolations of the:
RIBS
HIPS
SHOULDERS
HEAD - as well as:
EXTENDED ARM AND LEG LINES
QUICK TURNS
SYNCOPATED RYTHEMS
15
Q
NORTH
evidence
FUSION OF CLASSICAL VOCABULARY WITH OTHER MOVEMENT STYLES
LONELY TOWN, LONELY STREET
A
- In LONELY TOWN, LONELY STREET, there is a section to the BILL WINTERS song, I DON’T WANT YOU ON MY MIND, where we see a trio of men perform a stepping motif, highlighting the intervention of JAZZ into North’s choreography
