ASDR

• 1. The solo dancer exaggerates the sense of space on stage (he looks very isolated dancing to his own) to show the vastness of the ‘Soda Lake’ and demonstrates a sense of surveying in his relationship to Nigel Hall’s structure in space.
  2. The dancer shows the shape of the sculpture through ‘Tracing the Shape’.
  3. Michael Clark reflects the vast landscape of Soda Lake through travelling steps and contrasting slower floor-bound movement from Section 1: Awakening. The slow movement highlights the silence on stage which in turn represents the isolation and stillness in Soda Lake.
• • The sculpture is the main set.
  • Consists of suspended sculpture from ceiling. A rod that hangs perpendicular from the ceiling to the floor and is suspended just off the floor.
  • Charles Balfour’s use of lighting is reflective of the bleak isolation of Soda Lake in the Nevada Desert- the cyclorama is lit up with an abrasive tone.
  • A circular hoop that has a rod jetting diagonally off the side towards the floor, does make contact.
  • The movement helped to relate to the metal pieces (telegraph poles) in space and with the idea of the vast desert.
• • The costume for this dance creates a direct relationship to the sculpture through the use of colour- the dancer almost becomes an extension of the black sculpture.

  
  

  • The close fitting nature of the costume allows the alignment of the body to be seen and emphasises how the soloist relates to the sculpture in shape and highlights the abstract themes and intentions as the costume has no characterisation or meaning.
• • Silence - To match the limited landscape of the actual lake.
  • Alston did not want the music to detract from the dance.
  • Breath and steps are all we hear as he moves through the space.
  • Relationship inspired by the dance music relationship Cunningham used…the dance was autonomous from the music. Worked with John Cage on a similar relationship.