Discuss the similarities and differences between one feature of the movement style of Christopher Bruce and one feature of the movement style of a named practitioner from the Rambert Dance Company (formerly Ballet Rambert) 1966–2002
Christopher Bruce:
Inspirations - Walter Gore (classical), Norman Morrice (contemporary), early training (ballet, tap, acrobatic), Anna Sokolow (socially aware dance + pop music)
Always about ideas - using external stimulus, autobiographical, politics
Long extended lines of ballet with off balance tilts and attitudes.
Arabesques, attitudes and jetes combine with low cnetre of gravity, spiralling torseo, weight and floor - lungesm plies
Wants dancers with sense of musicality and characterisoaiton, and who can interpret the dance themselves
Richard Alston:
Lines a theme in Soda Lake - contemporary with classical elements
Traditional arabesque and spiral attitudes feature
Both Alston and Bruce both mix traditional ballet and contemporary dance in their dance, and even feature similar motifs, although due to their background it has wildly different results. Both trained in ballet at Rambert (known then as Ballet Rambert), and as such both choreographers have traditional movements (such as arabesques, plies etc.) in their works, for example in Soda Lake and Lady Jane (Rooster). However, their contemporary dance education differs.
Bruce's contemporary influences are primarily from the company's shift from ballet to contemporary under the charge of Norman Morrice, and the outside choreographers he was known for bringing in (and John Chesworth after him). For example, Glen Tetley and his workshops is where Bruce rose and developed as a dancer, and as a result the influence on his style is undeniable. In addition, his trip to American with the Ford Foundation Grant allowed him to study under Martha Graham, this means he was mainly exposed to the Graham technique that was common at the time among American practitioners. His style mixes the lines of ballet (along with the traditonal movements) with his low, grounded style compromising of floor work, an emphasis on weight and spiralling torso. So while his movement style still features ballet, it contrasts and mixes with the faster, grounded style to make something unique to him. This can be seen in Ghost Dances, where constant rolls and floorwork are contrasted with leaps and pirouettes.
In contrast, Richard Alston's primary contemporary influence is the Cunningham technique. As a result, his works consist of strong limb, especially leg, work. For example, in Soda Lake the limbs of the dancer are constantly elongated in one form or another, as in the tracings of the shape of the 'ellipsis' part of the sculpture. Of course, this is similar to Bruce's movement style which also uses lines heavily. This mixes with his traditional training well, merging with ballet rather than contrasting with it, arabesques leading into contemporary travelling or leaps seemlessly.
So while Bruce and Alston both combine contemporary movement and classical ballet together, due to their differences in training, ie their different types of contemporary education, their movement differs in form, although not in concept.
Christopher Bruce:
Inspirations - Walter Gore (classical), Norman Morrice (contemporary), early training (ballet, tap, acrobatic), Anna Sokolow (socially aware dance + pop music)
Always about ideas - using external stimulus, autobiographical, politics
Long extended lines of ballet with off balance tilts and attitudes.
Arabesques, attitudes and jetes combine with low cnetre of gravity, spiralling torseo, weight and floor - lungesm plies
Wants dancers with sense of musicality and characterisoaiton, and who can interpret the dance themselves
Richard Alston:
Lines a theme in Soda Lake - contemporary with classical elements
Traditional arabesque and spiral attitudes feature
Both Alston and Bruce both mix traditional ballet and contemporary dance in their dance, and even feature similar motifs, although due to their background it has wildly different results. Both trained in ballet at Rambert (known then as Ballet Rambert), and as such both choreographers have traditional movements (such as arabesques, plies etc.) in their works, for example in Soda Lake and Lady Jane (Rooster). However, their contemporary dance education differs.
Bruce's contemporary influences are primarily from the company's shift from ballet to contemporary under the charge of Norman Morrice, and the outside choreographers he was known for bringing in (and John Chesworth after him). For example, Glen Tetley and his workshops is where Bruce rose and developed as a dancer, and as a result the influence on his style is undeniable. In addition, his trip to American with the Ford Foundation Grant allowed him to study under Martha Graham, this means he was mainly exposed to the Graham technique that was common at the time among American practitioners. His style mixes the lines of ballet (along with the traditonal movements) with his low, grounded style compromising of floor work, an emphasis on weight and spiralling torso. So while his movement style still features ballet, it contrasts and mixes with the faster, grounded style to make something unique to him. This can be seen in Ghost Dances, where constant rolls and floorwork are contrasted with leaps and pirouettes.
In contrast, Richard Alston's primary contemporary influence is the Cunningham technique. As a result, his works consist of strong limb, especially leg, work. For example, in Soda Lake the limbs of the dancer are constantly elongated in one form or another, as in the tracings of the shape of the 'ellipsis' part of the sculpture. Of course, this is similar to Bruce's movement style which also uses lines heavily. This mixes with his traditional training well, merging with ballet rather than contrasting with it, arabesques leading into contemporary travelling or leaps seemlessly.
So while Bruce and Alston both combine contemporary movement and classical ballet together, due to their differences in training, ie their different types of contemporary education, their movement differs in form, although not in concept.
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