Please enable JavaScript.
Coggle requires JavaScript to display documents.
STRONG LANGUAGE (1987) - RICHARD ALSTON - Coggle Diagram
STRONG LANGUAGE (1987) -
RICHARD ALSTON
KEY FACTS
Choreographed by: Richard Alston
Year of premiere : 1987
Composer: Marc Gowan
Lighting Designer: Peter Mumford
STARTING POINT
Collaborations - sounds and rhythmic patterns created by Marc Gowan and costume by Katherine Hamnett.
Music - plays with and against movement (direct correlation and disassociation).
Lighting design - Peter Mumford's 10 successive lighting washes take a central role in the piece, including the visual impact.
Abstract piece so no themes or narrative!!
MOVEMENT EXAMPLES
Section 2 (pink lighting)
Facing upstage the dancer does an arabesque jump with arms in a 'V' shape. (Wayy sound)
The dancers scoop their arms and leg forward simultaneously as they contract and release in the torso. (Car revving sound)
The dancer steps into a turning leap with arms placed horizontally outwards. (Broken glass sound)
ANALYSIS
evidences close relationship with movement
(repeated on same sounds).
Section 3 (shadows)
Stood in a dispersed line, the dancers simultaneously throw their arms across their body as they throw their leg in the same direction. They then stand upright and roll their heads backwards.
The 6 dancers are stood in a straight diagonal line as they hold an attitude position with their legs, curving their torsos forward and their arms placed down by their sides.
ANALYSIS
Evidences the Cunningham technique and Alston's use of structure and formation.
CONSTITUENT FEATURES
USE OF DANCER
12 dancers who appear in different groupings, showcasing Alston's utilisation of structure and formation.
LIGHTING DESIGN
10 consecutive lighting washes links to idea of structure, distinguishing between individual sections and shadows sections exaggerated notion of formation.
COSTUME
Black short dresses with pleated skirts in section 2 showing technique based and precise movement + black suits with shoulder pads in section 3 (80s).
AURAL ACCOMPANIMENT
Section 2: moments of silence intertwined with sound nuggets creating a direct correlation between music and movement eg. Running water, car engine, broken glass. Also, found sound in moments of silence.
Section 3: music provides rhythmic pulses which are repetitive, driving the technical and fast paced movement (links to Alston's overdrive).