Soda Lake

Question 1

choreographer

Answer 1

Richard alston

Question 2

date of premier

Answer 2

1981

Question 3

dance company

Answer 3

rambert

Question 4

lighting designer

Answer 4

Charles balfour

Question 5

composer

Answer 5

silence

Question 6

set designer

Answer 6

nigel hall

Question 7

dancer

Answer 7

1 soloist- Michael Clark

Question 8

style

Answer 8

arches, tilts, curve, elements of ballet technique

Question 9

context of piece

Answer 9

use of flow from one movement to the next
-known for music movement relationships

Question 10

components

Answer 10

balance and off balance
body weight and gravity
rhythmic complexity
contrast in speed

Question 11

stimuli

Answer 11

nigel halls abstract sculpture ‘Soda Lake’ in 1968 based on the Soda Lake in the Mojave desert in North America

Question 12

use of dancer

Answer 12

solo dancer and relationship to structure in space
dancer to reflect vast landscape of a soda lake
dancer to show shape of piece
Alston “it needs to be a long-bodied dancer”

Question 13

intention

Answer 13

to show shape and lines of the sculpture
to reflect the Nevada desert and lake

Question 14

themes

Answer 14

sense of expanse
shape

Question 15

structure/form

Answer 15

4 sections:
awakening
tracing the shape
major section
epilogue

Form:
Abstract

Question 16

Climax

Answer 16

‘major section’ as it travels and covers more space

Question 17

aural setting/accompaniment

Answer 17

silence
did not want to detract from movement
breath and steps are all we hear as they move through the space

Question 18

awakening

Answer 18

use of weight
at rest-represents stillness
low level-floor bound for most of the section
sweeping leg movement
contrast in speed
weighted/earthy
contracted-extension in limbs

Question 19

tracing the shapes

Answer 19

release quality
sentinel position-conveys animalistic references
traces the structure
“big bird”-arabesque-foot flexed- arms raised above head

Question 20

major section

Answer 20

high release
fall and recovery
Cunningham tilt
significant changes in speed
shaping the arms
travel-i and around the sculpture
suspension-springs
rotation
angles
folding actions
high leg extensions
flurries of movement
darting leaps
extension

Question 21

epilogue

Answer 21

repetition of actions
folding
controlled
sentinel-side on
finishes underneath the sculpture