Gnossienne No.1 – Starkey Remix (Pascal Rogé)

The piece begins quietly and slowly.

 

  • Could be an atmosphere of waiting, contemplation before the show begins. Very slow movement, if any.

 

There is a very gradual crescendo in volume from the beginning all the way through to about a minute in, during this time, a short melodic phrase is repeated increasingly consistently.

  • Show begins (maybe it will start with slower movements as an introduction like the music is)

 

At exactly 1:21, the volume increases at a comparatively extreme rate. At 1:40, percussion is (soft, constant, controlled and fast) introduced, and the melodic phrase from the beginning becomes the main focus of the piece. The melody’s tempo, the volume is kept constant – a phrase of around 2 counts of 8 is repeated.

 

  • Second show: slightly more conflicted, the audience will see a slight change in the otherwise completely identical movement to the first show, the dynamic is slightly more aggressive.

 

3:31 – build in volume, a sort of climax. 3:49, melody becomes lower and more sinister, percussion gets louder.

 

  • Third show: movement becomes more chaotic, certain elements for pieces in between the shows (sections B, C and D) seep through.

 

From here through to the end, more layers of melody and percussion are introduced, the music is louder and more chaotic.

 

  • Climax: links to all sections falling together / overlapping, the ‘facade’ has collapsed. The audience should make the connection between the separate sections.

 

At 5:15, they come to an abrupt stop – there is only 1 note playing quietly until the piece finishes.

 

  • Finish with stillness?

Goals for Moving Forward with Solo #1

MOVEMENT

  • more clear to choreographic intention, generally develop it more
  • look into making animal abuse the focus: Elephants – use elements from their movement to create motifs (inspiration can be drawn from ‘Still Life at the Penguin Café’
  • for ‘show’ sections (A), look into jazz, Broadway for inspiration – should be glitzy, glamorous, entertaining

STRUCTURE

  • consider changing sections B, C, D to physical, mental (research into possible drugging) and emotional abuse (separation from mother)
  • have ‘cracks’ peeking through during A2 + A3 – the abuse is taking a toll

AURAL SETTING

  • try looking into more music options – perhaps something more sinister (movies and TV shows are generally useful)
  • begin finding possible options for voice overs – documentary style?
  • * consider having the ‘traditional’ circus music for sections A, with a ring master’s voice over + applause, laughter etc
  • * over sections B, C, D, have documentary style voice overs

CHOREOGRAPHIC INTENTION

  • make the audience know that animals perform in the circus AGAINST their will
  • make them realise they are supporters of it

* possibly 

More Notes

Part 1 – Abuse

  • Maybe cut down
  • Create a faster dynamic
  • More contrast between ‘rest’ and ‘tense’ moments
  • Perhaps add explosive end (agressive jumps, turns) that come to a blunt end, facing audience before next ‘show’

Part 2 – Manipulation

  • smaller gestures
  • sharp, look unexpected
  • head movement (facing)
  • isolate body parts explicitly, rest of the body follows
  • Movements similar to a puppet, limp, comtrolled

Throughout – show

  • cicus- like moements
  • higher energy in choreo
  • make the dynamic lighter
  • Perhaps it can change slightly throughout (add a movement from other sections here and there)
  • Add show movement to other section, have something consistent and recognisable throughout

Ending

  • have motifs from the show and other sections merge together
  • chaos
  • not necessarily link, common theme between the movements
  • come to a rest? sudden ending? what should the conclusion be?