ARTIFICIAL THINGS
● Choreographer: Lucy Bennett
● Composer: Andy Higgs
● Lighting: Chahine Yavrovan
● Set & Costume: Anna Jones
● Company: Stopgap Dance Company
● Date performed: 5th February 2014
● Dance style: Inclusive contemporary dance
● Duration: 20 minutes
● No. of dancers: 4 (medium) – 2 males, 2 females
● Performance environment: Proscenium arch
● Structure: Ternary
● Sections: S1: underlying tension, S2: seeking liberation S3: aftermath of tragedy where dancers are pensive
● Choreographic approach: Laura is the source of the movement (adapted by David & Amy), collaboration with dancers & task setting
● Choreographic intent: Life’s limitations & resolution, the gaze of the other & constricted within the snow globe
● Stimulus: The dancers’ personal experiences, paintings from the ‘Unknown Secrets’ collection by Serbian artist Goran Djurovic & a figure perched on a collapsed
wheelchair in a snow-covered landscape – viewed from afar as if through a snow globe
● Themes: isolation, limitations, resolution, inclusivity
● Mood & atmosphere: struggling, emotional
Set & props Costume Lighting
- Paper snow scattered over the floor in a - A mix of 1950s to 1980s pieces - Begins with the stage in darkness and
diagonal from the vitrine to Laura who is - Timeless, and therefore relevant to today’s society and builds in colour and intensity as it
downstage right, and inside the vitrine audience progresses.
upstage left. - The costumes are in shades of blue and green, with - There is a contrast between the warmer
- The snow on the floor suggests that the streaks/drips in these colours. amber side light from stage left where
dance is happening during Winter and is - Links to the stimulus of the work of Goran Djurovic, as Dave sits on the display cabinet and is
outdoors, again linking to the stimulus of a the colours and streaks were inspired by the background watching his fellow dancers, to the deep
wintry snow-covered landscape. of his paintings, and the technique of painting itself. intensity blue wash and cold central pool of
white light for Dave’s Solo.
, - The paper snow is effective in supporting - It looks as if paint is running from the garments, which is - The change from amber light into cold blue
movement, as it moves across the floor as a reference to being stuck in one of the paintings by suggests that Dave watches in hope that he
the dancers move - for example the Djurovic. could join in with the other dancers, but
wheelchair creating tracks as it rolls over. - Compliments the backdrop and the blue lighting. this hope soon fades.
- Dull colours contribute to the sad mood. - This links to the stimulus of the dancer's
personal experiences, as it is as if Dave
wants to be included but is being held back
by his limitations and over time his hope
fades. This is effective as it creates
sympathy from the audience for Dave and
helps the narrative, showing that time has
passed.
- In the set, there is a vast, heavy, cream - The abled bodied female dancer (Amy) wears a pale - At the beginning in Dave and Laura's duet:
coloured backdrop upstage with streaks, green, thigh length, sleeveless dress, with streaks of blue Two spotlights are used on the dark stage,
crudely painted in muted blue, green and and grey, side vents and a peter pan collar creating two soft edged pools of white light
brown. Paint looks as if it’s running down - Signifies her female gender - one centre stage and one downstage
the canvas. - Supports movement as it’s short length and side splits right.
- The streaks could suggest the technique of allows her to move freely, especially in the Gliding - The colour and rounded shape could
painting with a brush or drips of paint, as section, with lunges suggest snow or snowballs and represent a
well as the cream-coloured backdrop which - Washed out/dip dye effect symbolises no hope snow globe.
reflects a blank canvas used in painting. This - The rest of the stage is in darkness
technique and colours link to the stimulus of - This links to how the audience is watching
paintings by Goran Djurovic as the backcloth from afar.
was inspired by his paintings. - This lighting supports the stimulus of an
- This is effective as it complements the isolated figure and a snow-covered
costumes the dancers are wearing, making landscape viewed from afar as if through a
the performance more aesthetically pleasing snow globe.
to the audience - As the dancers are encased and restricted
- in the pools of light, it also links to the
stimulus of the dancer's personal
experiences and limitations.
● Choreographer: Lucy Bennett
● Composer: Andy Higgs
● Lighting: Chahine Yavrovan
● Set & Costume: Anna Jones
● Company: Stopgap Dance Company
● Date performed: 5th February 2014
● Dance style: Inclusive contemporary dance
● Duration: 20 minutes
● No. of dancers: 4 (medium) – 2 males, 2 females
● Performance environment: Proscenium arch
● Structure: Ternary
● Sections: S1: underlying tension, S2: seeking liberation S3: aftermath of tragedy where dancers are pensive
● Choreographic approach: Laura is the source of the movement (adapted by David & Amy), collaboration with dancers & task setting
● Choreographic intent: Life’s limitations & resolution, the gaze of the other & constricted within the snow globe
● Stimulus: The dancers’ personal experiences, paintings from the ‘Unknown Secrets’ collection by Serbian artist Goran Djurovic & a figure perched on a collapsed
wheelchair in a snow-covered landscape – viewed from afar as if through a snow globe
● Themes: isolation, limitations, resolution, inclusivity
● Mood & atmosphere: struggling, emotional
Set & props Costume Lighting
- Paper snow scattered over the floor in a - A mix of 1950s to 1980s pieces - Begins with the stage in darkness and
diagonal from the vitrine to Laura who is - Timeless, and therefore relevant to today’s society and builds in colour and intensity as it
downstage right, and inside the vitrine audience progresses.
upstage left. - The costumes are in shades of blue and green, with - There is a contrast between the warmer
- The snow on the floor suggests that the streaks/drips in these colours. amber side light from stage left where
dance is happening during Winter and is - Links to the stimulus of the work of Goran Djurovic, as Dave sits on the display cabinet and is
outdoors, again linking to the stimulus of a the colours and streaks were inspired by the background watching his fellow dancers, to the deep
wintry snow-covered landscape. of his paintings, and the technique of painting itself. intensity blue wash and cold central pool of
white light for Dave’s Solo.
, - The paper snow is effective in supporting - It looks as if paint is running from the garments, which is - The change from amber light into cold blue
movement, as it moves across the floor as a reference to being stuck in one of the paintings by suggests that Dave watches in hope that he
the dancers move - for example the Djurovic. could join in with the other dancers, but
wheelchair creating tracks as it rolls over. - Compliments the backdrop and the blue lighting. this hope soon fades.
- Dull colours contribute to the sad mood. - This links to the stimulus of the dancer's
personal experiences, as it is as if Dave
wants to be included but is being held back
by his limitations and over time his hope
fades. This is effective as it creates
sympathy from the audience for Dave and
helps the narrative, showing that time has
passed.
- In the set, there is a vast, heavy, cream - The abled bodied female dancer (Amy) wears a pale - At the beginning in Dave and Laura's duet:
coloured backdrop upstage with streaks, green, thigh length, sleeveless dress, with streaks of blue Two spotlights are used on the dark stage,
crudely painted in muted blue, green and and grey, side vents and a peter pan collar creating two soft edged pools of white light
brown. Paint looks as if it’s running down - Signifies her female gender - one centre stage and one downstage
the canvas. - Supports movement as it’s short length and side splits right.
- The streaks could suggest the technique of allows her to move freely, especially in the Gliding - The colour and rounded shape could
painting with a brush or drips of paint, as section, with lunges suggest snow or snowballs and represent a
well as the cream-coloured backdrop which - Washed out/dip dye effect symbolises no hope snow globe.
reflects a blank canvas used in painting. This - The rest of the stage is in darkness
technique and colours link to the stimulus of - This links to how the audience is watching
paintings by Goran Djurovic as the backcloth from afar.
was inspired by his paintings. - This lighting supports the stimulus of an
- This is effective as it complements the isolated figure and a snow-covered
costumes the dancers are wearing, making landscape viewed from afar as if through a
the performance more aesthetically pleasing snow globe.
to the audience - As the dancers are encased and restricted
- in the pools of light, it also links to the
stimulus of the dancer's personal
experiences and limitations.
