Roughcut (1990) By Richard Alston Flashcards
What year was this work first performed by Rambert?
1990- created for Rambert, stayed in the rep until 1992
What impression does the work’s name ‘Roughcut’ imply about this piece?
It appears informal, unfinished, a draft, flung together
Who was the designer?
Tim Hatley
Who was the lighting director?
Peter Mumford
Describe the physical setting in the original version of the dance and the updated version, and explain why this dance was updated
- Costume:
- The current version consists of males in a fitted white sleeveless vest, lose black trousers, and bare feet, whereas the old version the males didn’t have a top on, had braces, and had rectangle stripes on their trousers
- The current version consists of females wearing a white, lose fitting collared tunic, with white lose trousers and bare feet, whereas the old version females has 3/4 length sleeves, trousers were fitted at the ankle but loser around legs, and could see their middles
- Set:
- The current version is a completely bare stage, with black flooring and backdrop
- Is danced in a studio theatre, creating a more informal feel
- old set consisted of silver poles
- Lighting:
- use of warm toned side lighting
-All of the new changes made were to make Roughcut appear more informal
What was the aural setting?
- Electric counterpoint by Steve Reich
- It was recorded, looped, and layered together to create a complex piece of music
Explain Alston’s idea behind the piece and therefore its subject matter
- He wanted to create an energetic, jam packed piece, celebrating the energy of the young dancers he was working with
- This piece was created shortly after Alston’s father died, so he wanted to make it about living for the moment
- The music was the driving pulse of life
- The dance was about vitality
How many dancers were in this dance?
10, 5 male 5 female
What was Alston’s choreographic process for this dance?
- he wanted there to be equality between the dancers,
- wanted weighted movements to contrast with elevation
- specific use of the body
- idea of weight and pull
- Give a movement example that clearly shows the influence of Cunningham technique
- the male and female are in the DSL corner and they do a turning jump, legs straight, one arm in second, one above their heads, and they land out of it in a side lunge facing DSR, their torso is twisted with one arm curved below the body and the other lifted straight above them, head is tipped to the side
- Cunningham twist of torso and curved arm, as well as change of dynamic from fast to moment of stillness
- Give a movement example which shows the dancers quick shift through space
- male and female positioned DSL ball change into a side lunge facing DS, one arm in second one arm up, the transfer their weight lifting one leg in front of the body with a flexed foot, arms circle inwards over the foot, then do a side leap travelling to SR, turning into another leap with the arms in second
- covers the entire stage, fast and fleeting movement
- Give a movement example which shows the non-gender specific movement vocabulary
-male and female are positioned DSR, and the female supports the male in a jump as she stands facing SR, and he extends his legs in a horizontal plane in a scissor jump, turning around
- Give a movement example which shows the relationship with the music
- a male and female dancer positioned SL take 2 runs towards SR and do a stag leap, with the legs bent at the knee forwards and backwards, and their arms swing from straight parallel behind them to straight in front of the body
- The leap comes on the high note in the music, and shows the drive of the rhythmic pull, and shows how the dancers expansive use of the stage space
