Soda Lake (1981) By Richard Alston Flashcards
What year was the Rambert premiere of this work?
1986- it was mounted on them as originally created in 1981
Who was the dancer in this work?
it a solo, originally for a male but can now be danced by a male or female
Who was the set designer?
Nigel Hall- he designed the sculpture which is a direct influence from the Soda Lake in Nevada USA, based on his minimalist drawings of the landscape
Describe the structure and form of the work
-Episodic made up of 4 sections
1. Awakening
2. Tracing the shapes
3. Major section (this is the climax)
4. Epilogue
-the form has a sense of continual flow through the 4 sections
Who was the lighting director?
Sid Ellen
Describe the physical setting for the dance
-Costume: a black sleeveless leotard and black tights/ lycra trousers
-Set: the sculpture is 1 thin metal rod, on an angle with a loop attach above, and then a separate thick metal rod which gets narrower, which is suspended an inch off the floor.
Explain the choreographic intention to the dance
to reflect Soda lake found in the Mojave desert through the sculpture and movement on stage. This was achieved through the sculptures lines and qualities, creatures, land mass, heat, stillness
What is the aural setting for this work?
Alston asked Nigel Osbourne to compose a piece of music for the dance but he believed music would detract from the work, therefore it is danced in silence
Give a movement example from section 1 The Awakening section. Explain how it relates to the subject matter
-The dancer is stood on one leg in a classical attitude backwards, arms in a diagonal an he is pitched forwards, creating a pitched attitude position.
-his straight arms replicate the sculpture, and he is paused here for a few seconds completely still with no movement, balancing in the space showing the stillness and serenity of the lake.
Give a movement example from Section 2 Tracing the shapes. Explain how it relates to the subject matter
-The dancer stands underneath the sculpture and with his arms stretched out, one in front and one behind, one foot is pointed. He slowly moves his hand around the loop on the sculpture following it with his eyes, bending his torso around too. Creating a Cunningham high release and tilt of the torso. He then lowers onto the floor and circles one hand under the suspended sculpture.
-this movement clearly reflects the title of this section and shows the clear Cunningham influence Alston had.
Give another movement example from section 2 Tracing the shapes. Explain how it relates to the subject matter. Explain how this movement is also developed in the work.
-This section ends with the dancer in a sentinel position DSC, he is on 2 knees with his feet bent up behind him, his chest is raised off the floor and he is supported by 1 arm, with the other arm extended straight forwards and he is looking out.
-This is referring to the sparse land scape of the desert , with his focus looking out into the horizon. The dancer could also represent a creature.
- at the end of section 3 it is done as a double sentinel changing from arm to arm, and in section 4 it is developed through stage face and stage place, as it is performed US facing stage right reinforcing these ideas
Give another movement from section 2 Tracing the shapes. Explain how it relates to the subject matter
-The dancer is stood facing the vertical pole in a parallel fourth position with 1 arm in a horizontal curve around the pole, he performs a slow full plie maintaining contact between the arm and the pole.
-shows the vertical pull of the sculpture in space, and clearly shows Cunningham as there’s a twist of the spine and feet are in parallel
