Rambert Flashcards
(85 cards)
1
Q
When was soda lake performed by rambert
A
1986
2
Q
When was Pierrot lunaire performed by rambert
A
1967
3
Q
When was lonely town lonely street performed by rambert
A
1981
4
Q
When was death and the maiden performed by rambert
A
1984
5
Q
When was wildlife performed by rambert
A
1984
6
Q
When was ghost dancers performed by rambert
A
1981
7
Q
When was swan song performed by rambert
A
1995
8
Q
When was Norman Morrice artistic director
A
1966-1974
9
Q
When was john chesworth artistic director
A
1974-1981
10
Q
When was Robert north artistic director
A
1981-1986
11
Q
When was Richard Alston artistic director
A
1986- 1992
12
Q
When was Christopher Bruce’s artistic director
A
1994- 2002
13
Q
When was Norman Morrice sent to America by Marie rambert
A
1962 to train with Martha graham
14
Q
What were the aspects of going back to the ballet club days in 1966
A
Nurturing choreographers
Reducing the company to 18 soloists
Triple bills and shorter works
Regular performances
New choreographers from abroad
Preserving old works
15
Q
When did Glen Tetley come to the company
A
In 1967 for 4 weeks
16
Q
What is an influence of Bruce’s interest in social issues
A
Norman Morrice who was AD during Bruce’s training was interested in social issues
17
Q
What other shows and companies did Tetley dance in
A
On the town
Toured with Joffery ballet
Toured with Martha graham company
18
Q
What were Tetleys influences
A
Myths
Music
Literature
Fast paced climatic structure comedia de arte
Collaboration
Theatrical
19
Q
What is Tetleys catch phrase for his type of dancers
A
Muscular blend of ballet and graham
20
Q
Who danced as Pierrot
A
Christopher Bruce’s
21
Q
Themes of Pierrot lunaire
A
Dark dramatic humour
Mime
Fusion of modern and ballet
Acrobatics
Themes communicate realism and human connection
22
Q
Contribution of Pierrot lunaire to the company
A
Introduced a more modern dance style
Established Bruce as an exceptional performer
Drew on narrative and characterisation
23
Q
Describe a ballet motif in Pierrot lunaire
A
Travelling towards the stage right
he does four poses to retire commencing on his left leg .He circles his
arms to hold flexed palms
either side of his head. His upper body
contracts to the left with a slight tilt. After the
fourth pose he steps on his right leg to
diagonal upstage right and turns to end
facing the front with his leg in arabesque and
his arms out to the side at shoulder height.
24
Q
Graham technique in Pierrot lunaire
A
Pierrot stands with his right leg extended
upwards onto the scaffolding. His right arm is
reaching upwards, and he looks towards it as
he ripples it up and down. Simultaneously, he bends and straightens his left leg. He then pushes his
arm downwards, as his leg bends inwards
and his spine curves, before circling his arm
and leg back around towards the back of the scaffolding
25
Characterisation in Pierrot lunaire
He places his right
palm on his forehead in despair and makes a
very distinct, painful facial expression.
Opening his mouth whilst looking at his hand
on his head. He proceeds to perform 3 runs
forward towards the downstage left corner
and on the third run he places his left leg on
the floor, lowering his level and making him
closer to the ground as if he has fallen over in
a distraught fashion. He opens his arms out
either side of his body and looks up to the
ceiling, opening his torso to the audience and above to give a feeling of sacrifice
26
What did john chesworth do as artistic director
Promote the creation of new works
Expand rep with guest choreographers
Started school outreach programmes to get kids into dance
27
What are norths origins
Studied architecture at central school of art
Trained at royal ballet school
Trained with london contemporary dance school and then LCDT
Graham technique
Cunningham
Mattox for jazz
28
Impacts north had on the company
Excited audiences with narrative works
Broaderened audiences
Introduced new styles
Colaberated on production
Highlighted the importance for physicality , musicality and drama
29
Describe and explain jazz in lonely town and lonely street
In the first section the dancers make a square
formation and dance in unison. They step hop
towards stage left with their left legs in parallel
retire, right arm out in front of them at 90
degrees. They then step onto the right leg and
turn to the front taking three steps and then
turning to stage right,then another three steps and turn to face upstage
comencing on the left leg they take three step hops which are low to the ground and has the back leg in a low attitude before doing a step turn
North introduced jazz to Rambert because of his training with Matt Mattox whilst he was in america. This style allowed North to engage new audiences and diversify the company's style. Its use in this section along with union makes the movement appear sharp and steady. It represents the people who all do the same mundane things every day in a city yet they nerve interact with each other.
30
Describe ballet in lonely town and lonely street
In the third section the female dancer turns with her left leg in attitude around the male
dancer as he holds her left arm in 4th position.
She turns around his back and runs upstage
right before they both of a coupe turn with their
right leg.
North's use of ballet technique originates from Ramberts focus on classical technique as well as North's own training at the royal ballet school. The use of ballet in this section, which is a duet between a couple, helps to portray the themes of strong sad emotions suggesting that the couple are in some kind of disagreement because the steps and dynamics are very slow and gentle, often using partnering.
31
Describe use of music in lonely town lonely street
In the fifth section, the song says the lyrics “and
when i looked at you, you looked at the ground”
during this part of the dance the two dancers
are under a piece of scaffolding. The male
dancer runs in front of the female dancer to
look at her and she looks at the ground slowly
walking away from him.
The music for “Lonely Town Lonely Street” was written by Bill Withers and was popular music from the 1980s. North's use of this music in this section of the piece incorporates music visualisation in the movement and it helps to convey the dance idea that the male dancer is annoyed at his partner and she is trying to avoid him. As the song goes on it is clear he is singing about another man which is also insinuated in the choreography.
32
Who was LTLS originally created for and when
Janet smith dance company in 1980
33
How is LTLS described
Slick and fast jazz
34
What does LTLS tell the story of
Lonely people in a big city and each section is from a different persons point of view and position in the city
35
How many sections and dancers in LTLS
7 and 7
36
Influences of LTLS
Isolation rejection and betrayal in section 1
Abuse
Loniness
Architectural background influenced the set to look like a run down city
NYC influenced the dancers grid like formations in section 1
popular music
37
Who does the aural setting in lonely town and lonely street
Bill withers
38
Why do dancers bow at the beginning of death and the maiden
To acknowledge that they are going to make a statement about death and they are accepting it
39
Why do dancers fall for no reason in death and the maiden
To show that death can happen at any second
40
Describe the motif between death and the maiden when he is killing her
death and the maiden are centre stage facing diagonally down stage left. He is
behind her and grabs her upper arm causing her to contact slightly and lift her arms
slightly. Death leans back, removing his hands and bringing them above his head to
hit the maiden on her right side. She tilts her head back and lifts her arms up to fall
forward onto the floor taking two steps. Death then moves behind her again, lifting
her up
by her right arm and using his left arm to hit her on the neck.
41
What is death and they maiden about
Exploring the emotions of a young girl who is being taken by death
She moves from fear and resistance to accepting her fate
42
What happens in the two sections of death and they maiden
Premonitions - violent thrashing , distractions
Conversations - duets , fear , comfort , fight , acceptance
43
Influences of death and the maiden
Death and the maiden is a piece of music by Schubert which is a string quartet in d minior ( a sad tune )
A poem called death and the girl which is a conversation where he says he wants to rock her gently to sleep in his arms
Norths car crash where he thought everything went in slow motion
44
Style in death and the maiden
Graham
Ballet
Gestures
Folk
Narrative
45
Graham in death and the maiden
4 female dancers travel towards stage right , they whisk their arms around their head and suddenly fall to the floor. They then roll either forward or backwards and reach their hands up with an arched spine as if fighting off death. Finally they roll to face the audience and contract their torso with their hands over their face like a shield
46
Ballet in death and the maiden
All dancers in unison do a jump into a
wide second and then perform a coupe
turn and move upstage left, they then stop
and do a deep, grand plie with their arm
outstretched and the other arm down by
their side
47
Folk in death and the maiden and what it shows
The motif performed in accumulation includes a box
step with one foot flexed balanced on their
heel. They change their focus to the floor
as they flop their heads to the floor heavily
every time they take a step over their
flexed foot. Their arms are extended out in
a relaxed second position and they move
their elbows on each step in a
flailing/waving position
The use of folk dance and accumulation
presents the dancers as a community who
are all equally frightened of death and how
sudden it can occur as they all begin to join
as one group, perhaps believing if they stick
together and comfort one another it will be
harder for death to take them.
48
who taught alston release technique
mary fulkerson
49
origins of richard alston
went to eton but dropped out and went to art school
trained with london comtempory dance school
went to america to train in cunningham
50
influences of alston
cunningham
mary fulkerson
music
art and physical settting
fredrick ashtons tradegy of fashion inspired him to dance
51
alstons style
cunningham = weight shift ,lines , flat palms, angles , direction changes , ballet bottom half , contemp top half, twist , tilt , arch , curve
rythum
dance for fance sake
release technique - grounded
52
impacts of alston on rambert
im;plementing cunningham company class
continued colaberation
abstract rep
nurtured talent - mark baldwin who was in soda lake and went on to become AD
invited choreographers from abroad
however his work was hard for audiences to understand so they began to get smaller
53
origins of soda lake
originally supposed to be for a BBC show but it never come to be
inspired by a minimalist sculpture by nigal hall of the mojave dessert in north america
nigel made drawings that got progressively simpilar that reflected the occasional markers in the vast space
54
influences of soda lake
martha grahams work "frontier" from 1935 using a similar japanese sculpture
the loud silence in the desert which hall experienced
mary fulkersons release technique
55
what are the important elements of the sculpture in soda lake
it sits like an anchor in the space and the dancer is continuously pulled towards it
balance
channels space upwards
downward pull
the pole hovering creates and intense silence
56
how does the dancers costume reflect the sculpture in soda lake
it is plain black and minimalist like the structure as if the dancer is part of it
57
describe and expalin the big bird motif in soda lake
The dancer is facing the stage right. At the same time he slowly lifts his arms straight out in front of him to end in a high V, his left leg is slowly raised to arabesque just below 90 degrees with a flexed foot.
Alston chose this movement as his choreographic intent was to reflect the landscape and creatures in Nevada, where the sculpture was influenced from. The distorted arabesque references the birds which are found in this area and the slow transition into the position reflects the quiet, calm and empty atmosphere.
58
describe and explain the sentinal in soda lake
The dancer is downstage left facing the audience. He has his weight forward on his hands and his knees bent so his feet are in the air and he is balancing. Slowly he reaches his left arm forward, it is straight was a flat palm, and ends at ear height.
Alston chose this movement as he believed it showed someone looking out over a territory which links back to the key influence of the Soda Lakes in the USA which was vast open spaces drawn by Nigel Hall in order for him to create the sculpture.By looking out over the territory in this position it is like the dancer is a guard.
59
describe and expalin tracing the elipse in soda lake
The male dancer stands under the ellipse facing stage right. He is standing on his right leg and his left leg is pointed behind. His arms are in second arabesque with his left arm high pointing to the ellipse. He slowly circles around it anti clockwise reaching into an upper back bend and side bend.
Alston chose this movement as it allows the sculpture to become part of the dancer. The dancer is continually drawn back to it as it is an anchor in the space which is key to the dance. By circling the ellipse the dancer is channeling space upwards and it could be interpreted that it is the sun which is the centre of everything.
60
aural setting of soda lake
silence
so the dancer goes by instinct instead of being lead by the music
61
impacts of soda lake
encouraged alston to go on to make wildlife
62
origins of wildlife
its an imaginary kingdom and the dancers are its inhabitance but there is no narrative
its starting point was colabeoration between alston , neigel osbourne and richard smith
63
influences of wildlife
richard smiths sculpture called yellow pages
the way kites hang in the space influences the music
exotic dances and different cultures
graham technique
a cunningham piece called rain forest
64
style of wildlife
abstract
uses musical score for structure
balllet
graham
cunningham
lines
rhythmic
sharpe angles jaggered edges
movement shows highlights in music
65
impacts of wildlife
celebration of coalberation
first time showcaseing richard smiths art in theatre which encouraged a new audience
interesting music
66
how are the dancers an extension of the set in wildlife
they are wearing the same colour unitards as the kites
67
what sounds can be heard in wildlifes aural setting
Eskimo singing , sharp stuttering trumpet , bird catching song , african dance , tribal music , flute , light harmonic strings , wind instruments
68
describe a motif showing collaboration in wildlife
Two dancers perform a rapid double pirouette on their left leg in direct correlation with the trumpet drill and land in a wide turned out lung. Their arms are in 4th position with flexed palms.
The angular nature of their lung reflects the angular nature of the kites which are hanging in the space , they are also very colourful which is reflected in the dancers colourful unitards with abstract lines on them
69
describe cunningham in wildlife
Three dancers a stood in a vertical line stage left. They extend their right leg out to stage right sharply with a flexed foot and a bent supporting leg. They stretch both arms out in front of them with flat palms and curve their spines over. They the twist swiftly to face stage left and grab onto their right leg which is bent behind them and their left arm reaches up with a flat palm. Finally they bring their right leg through to an attitude to the front with a flexed foot and rises smoothly with a slightly arched back , arms extended up with flat palms
70
describe use of music in wildlife
The trio start in a diagonal line downstage left. On the sound of a horn being blown the first dancer does a step turn, step leap into a side leap facing the front. He opens his arms to second and then hugs them back in again. The second and third dancer repeat the same step on the following horn noises
71
origins of christopher bruce
trained at rambert
pierrot lunaire soloist
started dancing age 11 because he got polio
72
influences of christopher bruce
social and political issues
music
collaberation with designers and composers
glen tetley
human right s
73
style of chirstopher bruce
narraative
episodic
eclectic
tap
social
gestures
simplistic set
cyclical structure
rondo
74
impact of christopher bruce
back to blending graham and ballet
more interesting and accessible works
raising awareness
close link with amnesty international
increased company to 25 dancers
75
when was soda lake made
1981
76
when was swan song made for festival ballet
1987
77
how many soloists in the company under morrice
18
78
how many soloists in the company under bruce and where did he find them
25
he met them during he free lance career
79
how does robert norths use of different music link to ramberts heritatge
eurhythmics
80
what did north creat linking to ballet club days
a platform for choreographers to share new works
81
when did the name change to rambert dance company
1987 under alston to represnt the fact that they were a modern dance company
82
who was north and rambert competing with in the 1980s
smaller emergying companies
83
who did alston nurture
mark baldwin
michael clark
amanda britian
84
How are angular positions seen in the choreography of wildlife
One dancer runs from stage left to stage right in between the kites and Sharply snaps into an arabesque on fondu with their arms in an inverted 5th position , flat palms and a flexed foot
Also use of 4th position , lunges and attitudes
85
How are norths own experiences seen in death and the maiden
In the second section conversations death takes maidens arm and pulls her slowly off the floor to standing and she leans gracefully over his back arching her spine and dropping her head
Meanwhile the other dancers are stood in a semi circle around them and they rapidly turn out of the circle before contracting over and throwing their arms out in front of them aggressively. They repeat this in and out of the formation
Slow motion links to norths car crash
