Wildlife - RA

Question 1

Explain the warrior pose

Answer 1

the dancer moves US and faces the back before lifting her leg in a parallel attitude to 2nd with her arms in flattened 5th. She then falls through the lifted leg to turn SL and steps into a deep lunge with her left arm angled sharply above her head and other extended out behind. This is held in a moment of stillness

Question 2

Explain the male solo and duet

Answer 2

performed in section 1, the male in pink performs an arabesque fouetté with forward dive into a pence, flexing into attitude

Question 3

Explain the yellow duet (section5)

Answer 3

Both dancers stand one foot in front of the other and slowly unfold into 1st arabesque with the male extending his leg at a faster speed to create a higher line. This is then complemented by the females slightly lower line. The male then grabs the female around the waist and lifts her into a drape over his shoulder before both dancers lean away from each other in a moment of counter-tension

Question 4

What is wildlife about?

Answer 4

The piece explores an imaginary Kingdom which is helped portrayed by two mobiles of vibrantly coloured fabrics stretched across silver rods

Question 5

What is the physical setting

Answer 5

• designed by Richard Smith
• Two large ‘kites’ hang in the space crafted from fabric
  being stretched across metal frames. Each large kite is
  made up of 2 or 3 segments that overlap creating the large
  geometric and angular design of each one.
• They hang from the ceiling and ascend, descend, rotate
  and provide ‘corridors’ for the dancers to move through.
  They provide a frame for the dancers to dance between,
  under and weave through. This enables them to ‘appear’
  and ‘disappear’ amongst them creating moments
  where the audiences view of the movement is obscured.

Question 6

Costume?

Answer 6

• consist of brightly coloured body suits that have vivid marks and abstract designs that reflect the marks seen on the kites
• the dancers have tribal face paint on which emphasise the tribal or aboriginal idea which supports the idea of the ‘habitat’ Alston described

Question 7

Aural Setting?

Answer 7

• composed by Nigel Osborne
• The score was commissioned for this piece and made- up part of the artistic collaboration between Alston, Smith and Osborne.
• The ensemble consists of wind, percussion and strings with found sound layered in
  throughout. The score is rhythmical and has an underlying pulse.
• There are clear cultural influences heard in this music. This includes Eskimo
  singing, a bird catching song, African dance music and sharp, stuttering trumpets
  from Papa New Guinea.
• Instruments include Violin, Viola, Electric bass and brass as well as an African
  mbira and a percussive instrument called a flexatone.

Question 8

Movement Vocabulary

Answer 8

1. The defined angularity of the choreography is specific to ‘Wildlife’ and is a distinct shift away from Alston’s usual softer and curvier shaping of the body.
2. Alston still embraces his use of speed, dynamic shifts and contrasting levels
3. Floor bound content is juxtaposed with airborne phrases that skim through space.
4. Clear classical references are seen in the precise placement and control of the movements, as well as the use of turn out and codified balletic language.
5. Cunningham influence seen as the work has a clear comparison of ‘Rainforest’ created by Cunningham in 1968
6. Fulkersons sense of flow is still evident and there are clear release moments where the body melts into the floor.

Question 9

How are Cunningham influences shown?

Answer 9

• Cunningham influences include the use of sleek close-fitting body suits which expose the dancer’s bodies, emphasising the dancer’s lines and shapes.
• Contrast between slower, sustained sections and fast, detailed and precise sections.
• Cunningham style open attitude positions where the body twists forwards against rotated hips and the working leg lifts high at the back.

Question 10

How are Graham characteristics seen?

Answer 10

• The bold attack of the woman in pink and her strong and bold dynamic quality.
• Graham style actions such as front parallel attitudes and dives into penche.
• The ‘warrior motif’ that emphasises torque, tension and twist with angular arm and leg gestures.

Question 11

How are fulkerson release characteristics

Answer 11

• the works sense of flow
• movements that melt or fully release to the floor

Question 12

how are ballet characteristics shown?

Answer 12

• In the ‘yellow duet’ especially there is a sense of correct placing, control and Adagio partnering.
• Also actions such as multiple pirouettes, use of turn out, beaten jumps and fast precise footwork.