Wildlife (1984) By Richard Alston

Question 1

What year was Wildlife first performed?

Answer 1

1984- created for Rambert

Question 2

How many dancers are in the work?

Answer 2

6 dancers, 3 males and 3 females

Question 3

What is the aural setting and who is it by?

Answer 3

• Nigel Osbourne
• He used an eclectic mix of different cultural instruments
• can hear the flute, clarinet, horn, trumpet, harp, percussion, violin, cello, double bass, bass guitar
• sound effects taken from nature

Question 4

What is the physical setting?

Answer 4

• overall appears vibrant and fun to watch
• Costume: brightly coloured unitards in colours such as yellow, pink, blue and green (matching the kites) as this was classic Rambert highlighting the lines of the body
• Set: multiple very large kites, of various sizes and they overlap each other, very brightly coloured, and have several cut out holes in various shapes in them. The kites have the ability to be flown in and out of the stage from above and can be rotated
• Lighting: the lighting used is complex as it helps to enhance or highlight specific features of the kites creating shadows or other shapes on stage for the dancers

Question 5

Who was the set designer?

Answer 5

Richard Smith

Question 6

Who was the lighting director?

Answer 6

Peter Mumford

Question 7

Explain why Alston was drawn to using visual arts in his choreography of this piece

Answer 7

• Alston used to be an art student
• He has previously seen some of Smiths early art work e.g canvas’ whilst he was an art student, then saw the progression of his art work which gave him the idea to hang them on a stage

Question 8

Explain the subject matter for this piece

Answer 8

• a work which has a easy focus on collaboration, using music composed by Nigel Osbourne, along with artwork by Richard Smith
• The idea is that the audience is looking into some imaginary place, and the kites and dancers are what have inhabited the landscape, this is there normal and natural culture
• The dancers reflect the angular overlapping shapes of the oversized kites suspended on stage through the actual dance movement.

Question 9

1.Give a movement example that shows how the design is reflected in the choreography.

Answer 9

• First male dancer positioned USL runs on and holds a position on one leg, with the other leg extended to the side with a flexed foot, and his 2 arms make a diagonal line with flexed wrists and he is looking down along the line.
• his body shape is creating 3 sets of straight lines, but the flexed foot and wrists create angular shapes like seen in the kites

Question 10

2. Give a movement example that shows how the design is reflected in the choreography.

Answer 10

• 2 males run from USL and perform a double stag jump, bending both legs at the knee at the same time, flexing both feet, with arms in a classical third position.
• this very angular position is seen through the kites, and the elevated jump is like trying to replicate the kite suspended above them. Classical third shows blend of ballet with Cunningham

Question 11

3. Give a movement example that shows how the design is reflected in the choreography.

Answer 11

• the female soloist performs a sequence of turns positioned SL, she does 2 turns with the leg in a backwards attitude, ending in a deep lunge, then she turns in the opposite direction with the leg bent in second, spiralling to the floor.
• The fast turns and change of direction and levels could represent the movement of the kite, how the design is able to move up and down and rotate.

Question 12

How is the music used in the choreography?

Answer 12

• music visualisation is used frequently to create aesthetically pleasing work
• direct correlation is also sometimes used
• moments of silence is used to punctuate the work
• volume with correlation

Question 13

4. Give a movement example to show how the music, choreography and design come together in unity

Answer 13

• In the first section, 2 male dancers perform a succession of fast pirouettes, with the leg turned out in retire, arms in 4th position, they then end facing DSR in a very deep lunge, with turned out legs. They turn on a brassy fanfare with music visitation being used here. The note is elongated and increases in pitch during the turn, then goes completely silent once the turn has been finished. They are also partially hidden behind the kite structures, and can be seen through the cut out shapes within the kites.
• The fast turns could suggest the fast, blowing movement of the kites, whilst demonstrating the clear balletic influence. Being amongst the kites reinforces the choreographic idea of the audience looking into this habitat, observing the natural behaviour and landscape. Music visualisation creates an aesthetically pleasing movement, with the music and movement appearing balanced and working together.