Richard Alston (1968-1992) Named Practitioner 2

Question 1

What years was Alston Artistic Director between?

Answer 1

1986-1992

Question 2

What did Alston originally study before he decided to choreograph and in what year?

Answer 2

He did a foundation course in fine arts in London, but he did have an obsessive interest in ballet - 1965

Question 3

Where was the first place that Alston studied dance and in what year? What styles did he train in here?

Answer 3

-London Contemporary Dance School (LCDS) in 1966
-he was one of the first students to study here, and was one of the founding members of LCDT
-he mainly trained in Graham technique, classical ballet, and also Tai Chi

Question 4

What was strider and when was it formed?

Answer 4

Strider was a democratic company in which all of the performers choreographed works for the repertoire. They experimented with using everyday movement as well as dance movement. It was formed in 1972 until 1975

Question 5

Why did Alston go to study Cunningham technique in New York and when? Explain the impact this experience had on Rambert.

Answer 5

-During the mid 70s
-As artistic director Alston decided to narrow the company’s vision and focus, and begin introducing Cunningham technique and phasing out Graham technique. Therefore he studied with Merce Cunnigham in his studios in New York learning his technique.
-on his return from New York he established Second Strider and began working more for Rambert. His work was experimental and radical driving the company forwards after North’s popularist approach.

Question 6

When and where did Alston learn the release technique and who was this with?

Answer 6

Mary Faulkerson in Dartington in 1973

Question 7

What position does Alston take in Ballet Rambert in 1981?

Answer 7

Resident choreographer

Question 8

Explain how Frederick Ashton is a ballet influence on Alston’s choreographic/ movement style.

Answer 8

He created Tragedy of Fashion in 1926, full of technical and precise movement and characterisation. Alston was inspired “for his musical, lyrical, flowing movement, his beautiful use of the back, and quick detailed footwork”

Question 9

Explain how George Balanchine is a ballet influence on Alston’s choreographic/ movement style.

Answer 9

“for his fast flying energy in space, and he is musical, musical”

Question 10

Explain how Auguste Bouneville is a ballet influence on Alston’s choreographic/ movement style.

Answer 10

“for his beautiful, small fast steps. His choreography provide gracious generous dancing and a wonderful humanity”

Question 11

Explain how Merce Cunnigham is a modern dance influence on Alston’s choreographic/ movement style

Answer 11

For his clear full movements, sharp changes of direction, rapid moves through space, extraordinary energy and clarity. Alston said “he was brilliant, a brilliant teacher”

Question 12

Explain how Twyla Tharp is a modern dance influence on Alston’s choreographic/ movement style

Answer 12

Alston saw many of her works in New York and was excited by her extraordinary layering, speed, and complexity.

Question 13

Explain how Mary Faulkerson is a modern dance influence on Alston’s choreographic/ movement style

Answer 13

Introduced Alston to the release technique whilst working at Dartington. This combined with Cunningham make up the majority of Alston’s stye

Question 14

Explain how Steve Paxton is a modern dance influence on Alston’s choreographic/ movement style

Answer 14

For his contact improvisation work

Question 15

Explain how art, architecture and design is an influence on Alston’s choreographic/ movement style

Answer 15

His work is described as 3D in the sense movement can be enjoyed from any viewpoint. His choreography has a sculptural quality, described as “drawing in the air” and “designing the body in space”

Question 16

Explain how Naum Gabo is an influence on Alston’s choreographic/ movement style

Answer 16

He was a constructive sculptor whose work included clear clean arcs, often created by the trajectory of water in fountains.

Question 17

Explain how Nigel Hall is an influence on Alston’s choreographic/ movement style

Answer 17

Hall has provided the sculptural set designs for many of Alston’s works including Soda Lake, which was a fundamental and eponymous piece.

Question 18

Describe Richard Alston choreographic process

Answer 18

“his choreographic process is rooted in his respect for the dancer, artist, and individual, in his love for music and in his love of movement for its own sake. The 3 combine to produce work which is simultaneously rigorous and humane…”

Question 19

List the features of Alston’s choreographic style (8)

Answer 19

1. Abstract, neo-classical style, no linear stories, but a narrative can be hinted in a few of his works
2. Gender neutral movement vocabulary. Predominantly abstract treatment with much understated emotional overtones
3. Complex music visualisation
4. Movement vocabulary, phrasing, and structure clearly informed by the music
5. Strong interest in design elements and interaction with the set
6. use of motif and motif development
7. A humane choreographer, world rarely never harshly
8. Architectural design of the space

Question 20

List the features of Alston’s movement style (10)

Answer 20

1. Blend of Cunningham, contact improvisation, release technique and ballet
2. Austere modern style with curved and angular arm gestures
3. Graceful lyrical qualities
4. On going momentum propelled by the music
5. Driving through space fleeting travelling work
6. Range of dynamics are displayed with moments of extreme suspension combined with the tipping and falling of weight
7. Fleeting footwork and skimming elevation through the space punctuated by striking moments of stillness
8. Light tension, release, expansive movement qualities, combined with off kilter balances
9. Neo classical
10. Tai chi influence, rapid shifts in direction, focus of energy

Question 21

Explain why music is so integral to Alston’s work

Answer 21

-he often uses it as a starting point for his choreography
-it can dictate the structure of his works
-is part of his choreographic process
-likes working collaboratively with composers such as Nigel Osborne
-Often uses music visualisation, makes the dance aesthetically pleasing in a complex way

Question 22

Explain the key aspects of Alston’s use of space in his works

Answer 22

-often has a sculptural or art design on stage which inspires elements of the movement, giving the movement itself a sculptural quality.
-does fleeting floor pathways with a drive behind them and often changes direction of travel rapidly so he covers all of the stage, making the work appear 3D as can be enjoyed from any angle
-frequent use of elevation and levels, release technique quite floor based whilst ballet is elevation
-often uses motif and motif development, so stage face and place
-he designs the movement with the dancers in the space

Question 23

Explain some of the impacts Alston had on Rambert Dance company (8)

Answer 23

1. He shifted the style from Graham to Cunningham technique still with a blend of ballet. This introduced cooler, more abstract qualities but was because Alston believed he did not have the right body to dance Graham technique
2. Alston narrowed the company to one single vision, as opposed to the triumvirate of diverse works. This helped Rambert regain just one recognisable style
3. Alston changed the name of the company from Ballet Rambert to Rambert Dance Company in 1987 to fit with the changing and evolvement of the company’s more modern focused style
4. He focused heavily on collaboration with other choreographers, composers, designers and lighting directors. This fulfilled Marie Rambert’s aims and created complexity to his pieces.
5. He broadened the company’s diverse soundscape and complex use of the music
6. Mary Faulkerson’s release technique was brought in to the company. This consisted of fluidity, ease of movement and connection to the ground
7. He brought in a new approach to the company, whereby the dancers were involved in the creation of the choreography
8. Alston was eventually asked to leave the company as his works and style had become too narrowed and was not being received well by audiences therefore they weren’t receiving sufficient funding

Question 24

Explain what impact did Alston have on other choreographers

Answer 24

-he had a close working relationship with Siobhan Davies. She was a dancer for him in Strider, and then they created Second strider together as a joint enterprise with Ian Spink
-he also influenced the movement style of other like minded choreographers such as Siobhan Davies and Ashley Page who were creating works for Rambert, helping to refine the repertoire to establish a more coherent aesthetic approach for the company less broad and eclectic