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The Choreographic Archive of Siobhan Davies Dance

Title: Dance Work

Work: A Strangers Taste

Summary

The title of the work encapsulates Davies' experience of making this work. Working with a very different group of dancers, Davies found herself exploring how to translate her choreographic method to a new context, exploring the common ground between her own very particular dance 'language' and that of the classical ballet tradition.

Analysis

`...that idea of difference, of strange meetings propels this piece on a number of levels. The score juxtaposes the styles and timbres of 17th and 18th century composers and instruments with John Cage's 20th century music for prepared piano. The movement too jumps between spacious solos or intimate duets to tightly knotted groupings. Precise steps and footwork provide a foil for a gestural language of hands and arms - calm Adagio contrasts with fleet Allegro. In each case Davies is concerned not with finding fusions but in how these contrasting qualities interact, each putting a distinctive stamp on the other while retaining their own unique characters’ (Sanjoy Roy, programme note, 1999).

‘I have never before been asked to join in the creative process and provide the genesis of a movement. I may have been asked to ‘resolve’ a movement, but generally speaking the choreographer has told me what to do. There was a huge difference in this process and in the way the dancers really ‘fed’ on the idea that they could contribute’ (Deborah Bull, dancer). `

Dance Work

  • Series Title: A Strangers Taste
  • Title: Dance Work
  • Choreographer: Siobhan Davies
  • Dancers: Bruce Sansom,Deborah Bull,Edward Watson,Hubert Essakow,Jenny Tattersall,Leire Ortueta,Nicola Roberts,Peter Abegglen,Ricardo Cervera,Thomas Whitehead,Zenaida Yanowsky
  • Music: Antoine Forqueray,Freidrich Abel,John Cage,Marin Marais,Tobias Hume
  • Music - comments: Tobias Hume: 'Harke, harke' for solo bass viol from The First Part of Ayres (1605); John Cage: The Unavailable Memory Of (1944), Tossed as it is Untroubled (1943), Prelude for Meditation (1944), And the Earth Shall Bear Again (1942); Marin Marais: 'Sarabande','La Tartarine' and 'Le Tourbillon' for bass viol and harpsichord from Suitte d'un gout etranger, Pieces de Violes, 4e livre (1717); Karl Friedrich Abel: Two pieces for solo bass viol; Antoine Forqueray: 'La Bouron', vivement et detache for bass viol and harpsichord from Pieces de Viole avec la bass continue (1747) John Cage by arrangement with Peters Edition Limited, London.
  • Composer: Tobias Hume, John Cage, Marin Marais, Karl Friedrich Abel , Antoine Forqueray
  • Conductor: Andrea Quinn
  • Musicians: Carole Cerasi (harpsichord),Philip Gammon (prepared piano),Reiko Ichise (viola da gamba)
  • Designer: David Buckland
  • Design - comments: Silks made by Ken Creasey Ltd; Silks painted by Mike Becket; Fan frames - Scenery Jessel; Fans - Royal Opera House Production Department;
  • Lighting Design: Peter Mumford
  • Costume Designer - comments: Inspirational pleating by F. Ciment Ltd
  • Costume Maker: Dyeing - Nicola Killen, Royal Opera House Production Department; Costume supervisor - Diane Williams
  • SDDO Creator: Paul Allender and Ross Varney
  • Summary: The title of the work encapsulates Davies' experience of making this work. Working with a very different group of dancers, Davies found herself exploring how to translate her choreographic method to a new context, exploring the common ground between her own very particular dance 'language' and that of the classical ballet tradition.
  • Analysis: `...that idea of difference, of strange meetings propels this piece on a number of levels. The score juxtaposes the styles and timbres of 17th and 18th century composers and instruments with John Cage's 20th century music for prepared piano. The movement too jumps between spacious solos or intimate duets to tightly knotted groupings. Precise steps and footwork provide a foil for a gestural language of hands and arms - calm Adagio contrasts with fleet Allegro. In each case Davies is concerned not with finding fusions but in how these contrasting qualities interact, each putting a distinctive stamp on the other while retaining their own unique characters’ (Sanjoy Roy, programme note, 1999). ‘I have never before been asked to join in the creative process and provide the genesis of a movement. I may have been asked to ‘resolve’ a movement, but generally speaking the choreographer has told me what to do. There was a huge difference in this process and in the way the dancers really ‘fed’ on the idea that they could contribute’ (Deborah Bull, dancer). `
  • Publisher: SDDO
  • Production Date - original: 1999
  • Production Date - SDDO: 2008-04-01
  • Media type: Profile
  • Source: SDDO
  • Relation: Profile
  • Word Count: 0
  • Tour: Performance dates at the Royal Opera House, Covent Garden, London: 08/12/99, 16/12/99, 20/01/00, 21/01/00, 29/01/00
  • Subscription - only: Public
  • Permanenent URL: http://siobhandaviesreplay.com/record/2