RANDOM DANCE COMPANY
Wayne McGregor and Collaborative Artists Discuss the Trilogy
Notes taken by Julia Murray, Lecturer in Dance, Darlington College at the above event.
Stockton Arc, 22/2/00
Given a 12 month research grant to explore relationships between new technology and art (primarily visual and music). E.g.'s. 'Playing' virtual instruments/orchestras, 3D virtual performers linked to live performers elsewhere.
Trilogy developed as a durational journey over four years working with same group of collaborative artists. (Dancers increased from 7 to 8 and also males have changed). Decided to address the four elements.
The Millennarium (1997) - Water. Millennium/Aquarium. A futuristic aquarium.
A lottery bid for £110,000.00 for technological equipment was awarded after the piece was conceived. Technology is therefore primarily a graphic and visual language. The set comprised a 3D sculptural set onto which images could be projected and dancers in the space.
Sulphur 16 (1999) - Fire.
More integrated with technology in terms of its effects on choreography (computer generated, generic etc). Virtual and live cast integrated. Guazes, light etc used to shift perception. Sound ecology was clean, clear, through the body. Elemental sound of "nothing" at one stage, dead space, hearing the sounds of your own body. 16 sections each 4.22 seconds with different behaviours, playing with time concepts.
Aeon (2000) - Earth and Air.
Complete integration of technology. Polarity of structures. In three parts:
1. 9 mins. 3D animation. 3 solos filmed digitally then animated.
2. 30 mins. Animated body mutates into space. Labyrinth, kinetic spaces, live dance. The spaces are choreographed. 7 solos - 7 events - 7 ages of man. Combinations of possibilities.
Transition: 2 mins of quick kinetic material to a black space.
3. 25 mins. Historical, traditional setting. New technology of the body. Physical language developed, new. Just live performers.
All process is a dialogue, collaboration. Concepts of all types are developed by those with the skills. Choreography is made collaboratively with the dancers.
Given a task, put into your own body, pushed further by Wayne, therefore challenging.
Mental agility, intellectual dancers, mathematical structures.
Physicality pushed especially in the speed and action
Strong technical background necessary
Important to negotiate and empower dancers
Lucy (lighting designer):
Original concept form Wayne, dialogue goes back and forth.
Inspiration from a variety of sources
Being pushed to do things which seem impossible
Create a package of ideas which communicate the ideas
Aeon becomes more present physically so the lighting makes the dancers more apparent.
Problems with light washing out virtual/projected images.
Set/Floor connects earth and air and is also restricting in terms of where lanterns can be placed
Tends to work in very structured manner, methodologies etc. Likes new input to take /see things in a new direction/way. Music is inputted at late stage. Collaboration with Zoviet France began 22/02/00 and first performance is 25/02/00.
Mark, Zoviet France:
The band is experimental, improvisational. Equipment is set up and they go for it.
Sound is random, chance, risk, sampling, jumping, erratic rhythms. Sounds are altered to swell, stretch to fill the space or shrunk back down. A movement of sound. "Sound design", architecturally and choreographically. Making intuitive choices.
Instruments traditional/non-traditional, children's toys, CD's etc etc.
Comparatively recent collaborations with contemporary dance
Eventually as finances don't stretch to live performances for all venues piece is put onto DAT
Difference between live and recorded music performances is critical
Inspirations? Cunningham, Forsythe, Teshigawara (?!! Japanese choreographer - no idea how to spell it). Film - Art House. Visual Art.
Company Classes? Mixture of techniques
Recording of Work? Documented for Company use. Doesn't translate onto video/film. More concerned with live performance. However, first section of Aeon will be toured as visual art event to galleries.