CREATIVES AND CREDITS 

 

Choreographer: Rosie Kay

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Original Dancer: Gemma Paganelli

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Order of Music:

Kurtág: Játékok - Book 3: Felhangjáték, György Kurtág
Corelli: Concerto Grosso #8 - Vivace, Grave, Anna Holbling; Jaroslav Krcek: Capella Istropolitana, Arcangelo Corelli
Kurtág: Játékok - Book 3: Hommage A Christian Wolff, György Kurtág
Ravel: Pavane Pour Une Infante Défunte, Kathryn Stott, Maurice Ravel
Corelli: Concerto Grosso #8 - Allegro, Anna Holbling; Jaroslav Krcek: Capella Istropolitana, Arcangelo Corelli
Kurtág: Játékok - Book 1: Örökmozgó (Taláit Tárgy), Kurtág: Játékok  

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Costume: Rosie Kay

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Premiered on 27 November 2018 at The Sage, Gateshead

 

Funded and Supported by Arts Council England and Northumberland Arts Development

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Commissioned by Eliot Smith Dance

Rosie Kay describes the work,

 

I've been exploring more deeply the relationship between music and the brain, so I've been drawn to creating works that have strong musical scores, and discovering my own sense of musicality afresh. Coming to Newcastle, I read quite a few influential books; John Berger’s Ways of Seeing, Anais Nin’s Delta of Venus and Frederick Nietzsche’s The Birth of Tragedy. I also looked a lot at the art of Artemisia Gentileschi, a female artist and contemporary of Caravaggio who has great power and resonance in her work. This work is about the layers of performance that a female dancer has, stripping each layer away, showing more and more authenticity and allowing an audience into another human’s soul. I want the work to express beauty, humour, fragility and strength, with the title referring to the goddess Artemis (goddess of wild animals, childbirth and virginity) and a reference to the clown and Pierrot. The work has three introductions, before the main work of the Ravel Pavane, then having a complete change of tone with a fast jumping section, and ending on a shimmering image of transcendence.