Cscape education pack - Welcome to KEAP - KEAP...Harvest Fire (YMT The Lemon Tree Aberdeen), The...

Contents

1. Teachers notes 3 2. About Cscape Dance Company What does the company do? 4 Sally Knight 6

3. TASTE An introduction to Taste 7

The dancers 8

The collaborators 9

The starting points 10

The making of Taste 16

4. Task Sheets Status Shift 17

Gardens 18

Trios 19

Social Environments 21

Characterisation with Props 22

Warm ups and games 23

5. Further resources Taste tour 24

Resources and links 25

Cscape Workshop Information 26

Acknowledgements 27

CSCAPE EDUCATION PACK "2

1. Teachers notes

Varied curriculum options This pack has been designed to support Dance lessons in Key Stage 4 and 5. It could also be used in Year 9 classes, with Arts Award participants and as an introduction to Dance Theatre within a Drama or Performing Arts curriculum. We are confident that Dance, Drama and PE teachers will be able to use this pack in their lessons to deliver high quality movement skills and devising tools.

Interactive The educational pack is an interactive resource that encourages the learners to watch interviews, learn movement from the Taste choreography, train and warm up like a Cscape dancer. Whenever you see a purple bubble on the page there will be a link to a clip or website that encourages them to watch, research or interpret what they see. This is a great way to start a lesson or give them independent tasks.

Task Sheets Each task sheet explores an element of the devising process, stimulus or movement style from Taste. The actual poems, scripts, documentaries and notes are the starting point for each task sheet to give the learners a real insight into the devising process of Taste and offer an opportunity for them to create their own response. The tasks offer practical and theoretical skills that are a requisite for GCSE, A-level and BTEC curriculum. The extension and discussion tasks challenge the more able dancers in your class room to develop their creative and analytical ability by putting Taste into context with other current work and movement styles.

Stay in touch and show us what you think! The website www.c-scape.org.uk gives you up to date information on the tour dates, images and current work being made


http://www.c-scape.org.uk

2. About Cscape Dance Company “We make dance for people, inside and outside, above and below the ground. We create performance and education projects that give people the confidence to immerse themselves in contemporary performance. We are inspired by the landscape and community of Cornwall. Whatever our project, we attack it with passion and creativity, hoping to be more brave and bold than the project before.” Sally Knight, Artistic Director.

Cscape began more than ten years ago. with an interest in blending imaginative physical theatre with energetic choreography and an over-arching ambition to make contemporary dance accessible and engaging. They perform in small scale theatre venues on rural touring networks and have also worked in the mid scale as part of a touring show with Kneehigh Theatre.

For Cscape the most important result for each production is that it translates to any audience and any venue. To do this, they collaborate with dancers, actors, writers, film makers, designers and musicians; all of whom make work that resonates with the company commitment and sense of humour. These dancers and collaborators often have multi disciplinary training and work in a larger field where dance, physical theatre, site specific work and small scale touring are


Discussion : What kind of training and career pathway does this kind of performer need? Refer to the interviews of the dancers and page …. to find out more.

Research the training options and higher education courses that you think may offer these type of skills. What career pathway could you take?

Research Find the Kneehigh Theatre website by clicking here and compare and contrast the Dance Theatre of Cscape with the physical theatre of Kneehigh.

http://www.kneehigh.co.ukhttp://www.kneehigh.co.uk

experienced. This results in performances and projects that have key Cscape qualities:

Cscape are passionate about taking high quality dance theatre into remote corners of the UK. All of their work can support audience development across a wide range of venues including arts centres, village halls, schools, community

centres, gardens, festivals and of course, theatres. Their sets and shows have to be adaptable to lots of different spaces and their dancers have to be adaptable and confident with changes to the production every time they perform.


Punchy and absorbing performance

A delightful display of characterisation Use of strong narratives

A focus on a visual stimulation for the audience using interactive and colourful set and outdoor

performance environments Topics for audiences of all ages

Discussion: What local beauty spot would you like to perform in? What local topic or historical period could you explore?

Research; Create a mood board that depicts the type of site specific venue and performance you could produce.

“No village hall is too small. No theatre is too large. No seashore is too wet. No garden is too dry. We will happily don waders and dance in the mud!”

Sally Knight Artistic Director & Dancer Sally Knight (Nee Williams) is Cscape’s Artistic Director, creative producer, choreographer and often, performer too. Undertaking her professional dance training at the Laban Centre from 1998-2001, Sally graduated with a BA Hons in Dance Theatre. Upon graduating Sally helped set up Pivotal Dance Company, a performance group of Laban graduates who performed their own work to great success at the Edinburgh Fringe Festival, before going to work as dancer in New Zealand. Returning to Cornwall in 2003, Sally co-founded Cscape with Helen Tiplady and Sarah Jarvis. Sally choreographed our first piece, Within These Walls, in January 2003, which premiered at the Barbican Theatre Plymouth and Plymouth Theatre Royal as part of the Dancers United Festival.

Sally has been involved in all the company’s productions to date: 2013 Glendurgan Gold - choreographer and performer 2013 The Venus Flower and other Stories - Choreographer and creative producer 2013 If the Shoe Fits - Tour manager 2012 Trelissick Gardens Christmas fairies – Performer 2012/13 If the Shoe Fits - Performer 2012 Tin Violin, collaboration with BishBashBosh, Choreographer / performer 2010 Global Gardens - Co Director, Producer, Choreographer 2009 / 11 When the Shops Shut – performer 2008 / 11 Enjoy Your Stay- choreographer / performer 2008 / 09 Don John with Kneehigh Theatre - performer

Other companies In 2006/07 Sally worked with Jacky Lansley Dance Theatre at the Hall for Cornwall (HFC) and Royal Opera House (ROH) Clore performing in View from the Shore and in 2008 / 09 worked with Kneehigh Theatre in the national and international tour of Don John in conjunction with the Royal Shakespeare Company (RSC) and Battersea Arts Centre (BAC). Choreography / Movement Direction for theatre; Hamlet - Cube Theatre, 2008 Beauty and the Beast from Mars Miracle Theatre, 2010 Tin Violin 2012 - Trebiggan Productions (Formerly BishBashBosh), Minack Theatre, 2012 Upstage Youth Theatre HFC - Summer 2012 Kernocopia - Summer 2012


3. ‘TASTE’ Tea; how do you take yours? Milk no sugar? Milk in first? No milk at all? Builders, Earl Grey… Herbal? What’s behind or choices? What defines our identity? Do we really fall into social tribes and if so how far up the social ladder is our tribe? Can we climb higher?

A delicious romp of a show inspired by the tapestries of Grayson Perry, and relishing in our national obsessions with social class and the cultural extremities of food, fashion and style. Blending theatre, dance, writing and music and brought to you by choreographers Sally Knight (Cscape) and Neil Paris (Smith Dance/Fabulous Beast) with writing by Murray Lachlan Young (BBC Radio), TASTE explores what defines our identity and ponders the intricacies behind our choices. A dance show with a difference that’s as refreshing as a nice cup of tea!

Cornish company Cscape has earned a reputation for creating warm, witty and accessible dance theatre shows over the past twelve years, and TASTE, aimed at 12+ audiences, is no exception. In particular the company loves to tour to rural audiences who would rarely see work of this genre, offering people a chance to experience something inspirational that’s right on their doorstep - and right up their street.


You can watch a short film of the development phase of TASTE over HERE, which will give you a flavour of what’s to come.

https://youtu.be/Hr7Wkqa33eohttps://youtu.be/Hr7Wkqa33eo

The Dancers


Dancer Sioda Martin

Sioda is a Performer, Movement director, Choreographer and Teacher based in Leamington Spa. Since graduating from Northern School of Contemporary Dance in 2002 her performance credits to date, working nationally and internationally are Motionhouse Dance Theatre/ Ace Dance and Music/ Parlor Dance/ Keira Dance/ Assault Events/ Mobius Dance Theatre/ Freefall and Yael Flexor-Bedlam Dance. Sioda was also Rehearsal Director for 2Faced Dance Company on their recent tour of ‘Dreaming in Code’. Sioda specialises in Dance Theatre and Contact Improvisation and is passionate about making dance accessible to all. Her own artistic interests focus on performance for non-conventional settings through Theatre, Movement and Comedy and she is currently developing her own choreographic style inspired by recent professional development training at The Actors Space Barcelona, supported by DCD.

Sioda is experienced in teaching groups of all ages and abilities - motivating and inspiring young performers. She was selected to be part of the Dance Touring Partnership project ‘Everybody Dance Now’ alongside the Ultima Vez international tour in Spring 2015.

She is also a Thai massage Therapist and qualified Yoga instructor. www.siodamarimartin.wordpress.com

Dancer Tom Jackson Greaves

Tom Jackson Greaves Born in Cornwall, Tom trained at Laban and London Contemporary Dance School and has previously dance for Cscape Dance Company in The Venus Flower. Performance credits: Extensive touring for ‘Matthew Bourne’s New Adventures’ including Cinderella, Nutcracker!, Early Adventures and Sleeping Beauty. Other highlights include; Tristan and Yseult (Kneehigh Theatre), Kes (Sheffield Crucible), Dirty Dancing (Future Cinema), And Then You Were Gone (Cameron McMillan Dance) Slaughter (The Mconie Company for The Place Prize).

Choreographic credits include:The Glass Menagerie (Headlong Theatre UK Tour), So Here We Are (Manchester Royal Exchange), Juicy and Delicious (Nuffield Theatre Southampton), When We Were Women (The Orange Tree),The Crocodile (Manchester International Festival), Teddy (Southwark Playhouse), Defect The Musical (Arts Ed),Shadowthief (Barnsley Civic), Kerry Ellis at the Palladium (London Palladium), LIFT The Musical (Soho Theatre), Harvest Fire (YMT The Lemon Tree Aberdeen), The Seventh Muse (YMT Barbican Plymouth), short creations at ArtsEd, The MTA, CPA Studios and Dance Academy Russia and music videos for Boy George and Clare Maguire. Tom also creates his own dance-theatre work: Seven Deadly Sins (UK Tour) and Vanity Fowl (Sadlers Wells). Tom was a winner of the New Adventures Choreographer Award in 2012.

http://www.siodamarimartin.wordpress.comhttp://www.siodamarimartin.wordpress.com

Collaborators

Simon Birch Simon trained at the Northern School of Contemporary Dance. During his performance career he danced in works by, among others, Liv Lorent, Gill Clarke and Nigel Charnock. He now works internationally as a choreographer, rehearsal director and dance teacher, regularly mentoring professional artists. He devises and directs his own projects as well as being commissioned to choreograph for professional dance companies.

Chris Bradley Chris trained in Performing Arts at De Montfort University and has toured extensively over the past fifteen with The Mission (State Of Emergency), Springs Dance Company, Mobius Dance Theatre, Mercurial Dance, KeiraDance and Parlor Dance in the UK and abroad. Alongside this, Chris has performed in Aerial work, site specific work and regularly works in physical theatre settings developing movement alongside voice and character.

Fiona Chivers Fiona was a professional dancer before studying theatre design at Rose Bruford and St Martin’s. Winning a Linbury award in 1997 kick started her career and led to many interesting commissions. Her own performance background resulted in a passion for high energy theatre which aims to push boundaries and open performance to a wider audience. With an increasing interest in the value of theatre as a powerful educational tool she aims to continue developing her work in education and community theatre.


Dancer Jessamin Landamore Coyne

JESSAMIN LANDAMORE is a dancer and yoga teacher originally from Lewes, East Sussex. Trained at London Contemporary Dance School and Northern School of Contemporary Dance, Jessamin has performed nationally and internationally in works by Made By Katie Green, h2dance, Seven Sisters Group, Cscape Dance Theatre, Fleur Darkin Ensemble, Holly Blakey, LA Follies, Nutkhut, Rogue Theatre, Reuben Feels (immersive theatre), Pestiferous (The Weirdy Beardies), Bakehouse Factory, and companies across Europe, Sri Lanka and the USA.

Jessamin has also appeared in several operas at the Royal Opera House, including David McVicar’s ‘Faust’ (choreographed by Michael Keegan-Dolan of Fabulous Beast) and Laurent Pelly’s ‘Robert Le Diable’.

She continues to collaborate with colleagues from LCDS, performing with immigrants and animals (Jamila Johnson-Small) and Trumpet Creepers improvisation group. Jessamin is an Embodied Dancer/Yoga Alliance UK accredited yoga teacher and travels annually to Sri Lanka where she is Director of Dance for the International Festival of Dance, Music, Speech and Drama

Simon Harvey Simon is Associate Director with Kneehigh and Artistic Director of o-region.Recent credits include 946 (Kneehigh), Dracula (Rabbit Theatre), Seven Deadly Sins (TJG Dance), Christmas.Time and Above Bored (Owdyado Theatre, If the Shoe Fits (Cscape), Noye’s Fludde (Orchestival / Kneehigh). Simon has recently produced and starred in low budget feature film ‘Brown WIlly’ which is due for release in 2016.

Neil Paris Neil is the director of SMITH dancetheatre whose first work, Agnes and Walter: A Little Love Story toured the UK to critical acclaim. He was a core member of Fabulous Beast Dance Theatre and teaches and and leads workshops throughout the UK and Europe. Recent work includes After The Fall: A Little Morality Play for SMITH and choreography for Wolf’s Child by WildWorks

Nathaniel Reed Collaborations include work with V-TOL Dance Company, Mark Murphy, The National Theatre of Scotland, Frantic Assembly, and Panta Rei Dansteater. Recent projects include composition and music direction for Turku 2011 European Capital of Culture Opening Ceremony, Finland, ‘Land of Giants’ in Belfast, commissioned by Legacy Trust UK, as part of the London 2012 Festival and ‘White Gold’ for the Glasgow 2014 Cultural Programme.

Murray Lachlan Young Murray Lachlan Young is an award-winning poet, playwright, author and broadcaster. He is poet-in-residence at BBC Radio 6 Music, where he won the first of his two Sony Gold Awards, the other of which was with BBC Saturday Live. Recent works include Murray's 2015 big screen co adaptation of Dylan Thomas Under MilkWood. The movie stars Rhys Ifans and Charlotte church and is directed by Kevin Allen. Another 2015 production is: 'Flexagon Radio' commissioned by BBC Radio 4 for Overtone Productions.


The Starting Points Tapestries of Grayson Perry Created alongside the popular BAFTA award-winning Channel 4 series All in the Best Possible Taste with Grayson Perry, The Vanity of Small Differences were subsequently gifted to the Arts Council Collection and the British Council by the artist and Victoria Miro Gallery, London, supported by Channel 4 Television, the Art Fund, Sfumato Foundation, and Alix Partners.

“Of all the pieces I have made this was the one I conceived from the outset as a public artwork. I hope that wherever it goes it not only delights the eye but also sparks debate about class, taste and British society.” Grayson Perry

The original inspiration for Taste came from two points that coincided around the same time in 2013. Firstly, the artist Grayson Perry created a series of vibrant tapestries, accompanied by an award winning documentary series “All in the Best Possible Taste”, which explored the themes of class and taste, and how the two continually intertwine. Within the tapestries of “The Vanity of Small Differences” Grayson held up a mirror to contemporary Britain and it’s many diverse social tribes, looking at the choices people make about the objects they surround themselves with and the lifestyles they lead, and the reasons behind these decisions. Perhaps where the work held it’s greatest strength, was that it allowed the audience to recognise and think about their own choices, and to question exactly why it is that our tastes are our tastes. The second source of inspiration came with the announcement in the media that recent research had separated us into seven new types of social class groupings, ranging from “precariat” to “elite”. Gone are the days of the traditional system of upper, middle and working class and this research came along at an interesting time in our social history when arguably, inequality is more apparent than ever with huge extremes between the most wealthy and the most deprived in our communities. As a result, we have taken the themes of identity, choice, taste and class as initial starting points and spent hours in the rehearsal room devising, debating and delving into a whole side to British culture that could be discussed indefinitely. (Sally Knight, Artistic Director)


Research 4: Watch a documentary and interview about Grayson Perry and mind map key ideas and

stereotypes that are represented in his work.

http://www.channel4.com/programmes/in-the-best-possible-taste-grayson-perryhttp://www.channel4.com/programmes/in-the-best-possible-taste-grayson-perryhttp://www.artfund.org/news/2012/11/30/grayson-perry-tapestries-secured-for-the-nation

Using text.. Sally Knight talks about the way she creates movement material with her dancers…

“We create movement material in lots of ways, but one of the techniques I used a lot for Taste was to work closely with the text from Murray's poems and to ask the dancers to choose a number of words or a sentence or two that resonated with them and that they were drawn to. We then set about creating movements which were inspired by the words. The movements are not direct representations of the words, and look quite abstract in comparison to the words, but often this creates some really interesting movement material from which we can then start to shape phrases, and group sections which will interweave in a 3 dimensional way.”


Discussion: • Look at the imagery and

statements used in the script.

• Can you think of any more that you have heard people

say? • What is your opinion on the

‘class’ of these statements?

Extract from The Garden Poem

Crazy paving Solar lighting Cittronella Stops the bighting

Water feature Wishing well Rambling rose Stocks to smell

Alpine garden Rock and stone Atmospheric Garden Gnome

Trellis arbour Sun and moon Wagon wheel Garden room

Prologue This is the first poem which appears in the play.

It sets the tone and themes for the show.

“Oh of course you’re no better than them And they’re no better than you But of course you know ‘you’ by the things that you do Because that’s what defines you as you

What did you choose that they did? What did you choose that they didn’t? And what did you choose to make ‘that’ bit of you Become very much just what they isn’t

What did they choose that you wouldn’t And what did you choose that they couldn’t And what did they choose that you had to excuse Because you knew its something one shouldn’t

Who do you think you are? Who do you think your aren’t? What do you think can?

Extracts from ‘Simple Pleasures’

The first sign of spring the bird on the roof Resting ones feet on a Faux leather poof Of the scratch of an itch, a leaf on a tree The plop of a pebble thrown into the sea

We must open our eyes to smallest of pleasures

Gather them up and then put them together And watch as they turn into health and to

wealth For they are the seeds of happiness its sea

Images collated by Neil Paris


Research 5: Find images from newspapers, magazines and the internet. Cut them out and create a collage to use as a

starting point.

The images that Neil Paris elected were from a mix of ‘tribes’ or classes. he found many of the images in a photography book by Jeremy Deller. What particularly interested Neil was the subtle differences between behaviour and appearance. For instance, the two images below are from a upper class summer ball at Eton but their drunken behaviour suggests otherwise. In TASTE each character experiences a deterioration of spirit or value which alters they way we perceive them. Jessamin’s character begins onstage like a beautiful, wealthy portrait of a stately home owner. As the scene continues she falters, ages and becomes weaker.


Watch the footage of rehearsals with Neil HERE

How have the dancers responded to the starting point? What would you do with the material they have made?

“I have been working on the idea of a night out and how although you might start with good intentions it will end up getting ugly and messy…Its something that I think goes across all classes” Neil Paris

https://www.youtube.com/watch?v=Gs81Oiro5O0https://www.youtube.com/watch?v=Gs81Oiro5O0

Props Props were used as initial discussion points and improvisation tools. Items of clothing that represented different classes were used when creating characters such as a feather boa, hats and coats.

An image that Cscape kept returning to was dinner. Reminiscent of Grayson Perry’s documentary, Sally found the different ways people dress their tables fascinating. Everyone has their own ‘taste’. They would scour charity shops and look for items to dress different tables. Sioda Martin was tasked with a table, teapot, table runner and magazine to develop solo material structuring the props into different tables settings and changing her character as this happened. Later in the process Sioda also began interacting with large amounts of boxes that contained her accumulating online buys.


Watch Sioda’s solo in the following HERE

cliphttps://youtu.be/a-C4TceaZnUcliphttps://youtu.be/a-C4TceaZnU

The Making of Taste

Three devices were used to develop movement material

1. Developing tableaux (still images) from photographs and the tapestries 2. Using imagery from text by selecting key words and translating into

movement and gestures 3. Moving with props

through improvisation and interaction.


Simon Harvey talks about the tasks he set the dancers to develop characterisation

1. What has your role been in the process and production of TASTE?

I’ve been the Associate Director on TASTE. My role has been to look at the components (choreography, text, design, music) and help Sally to shape it as a theatrical piece. It’s a massive theme being explored in the show and several collaborators inputting, so i’m helping to weave them together, hopefully into something that is meaningful and compelling for an audience.

2. What tasks and focus areas have you worked on with the dancers?

It depends on the particular area of the show. Sometimes I’ve asked questions about the ideas and material, other times I’ve just made observations about what I’ve watched and offered suggestions for developing ideas. With other sections I’ve used my directorial eye to further shape and enhance what the devising / choreographic team have already developed.

3. How do you use text/language/script work in rehearsals?

I’ve been heavily involved with reading the poems and prose that Murray (Lachlan Young) has written and looking at where sections can be utilised. Often in this process, because there is so much material, it has been about distilling and condensing sections down to its essence. Its not like a ‘conventional’ theatre show where the spoken word (often) tends to lead the storytelling, here it is one of the layers, but not necessarily always the driving force. There is also some devised text, utilised in the action and as we move from the devising process into the production week, i’ll be keeping an eye on technique and delivery of words / text to ensure a high quality of performance.

Watch the vlog HERE to discover how the musicians, directors, designers and rehearsal directors all work together to produce TASTE

https://www.youtube.com/watch?v=5L4dLOxyeDMhttps://www.youtube.com/watch?v=5L4dLOxyeDM

Task Sheet; Status Shift

The opening section to TASTE is a piece of dance and spoken word that introduces the dancers and their lifestyle choices. As the food, houses, gardens and tea preferences are spoken the dancers move along a sliding scale of upper, middle and lower class.

The contact section evolves out of the spoken word and develops the shifting scale idea into levels of hierarchy and power. The dancers were asked to create stepping pathways. As the dancers encountered each other when performing their phrases, lifts and manipulations were created.


Watch the first section in rehearsal HERE

the dancers introduce themselves and their sliding

Write a short summary of your own favourite foods, shops, where you live, where you were born, your grandparents’ jobs, hot drinks and shoe wear. Stand in a line side by side, take it in turns to speak a sentence at a time moving along the line to depict the status shifts. Rehearse the changes of position and refine the pathways you take to step, shift, run or move each other.

Use the same process as the dancers described above to develop a contact session: Create a stepping pathway developed by the first status shifting tasks. Develop and exaggerate the interactions with contact

https://youtu.be/XY3V1lg4i3Ahttps://youtu.be/XY3V1lg4i3A

Task Sheet: Gardens The Cscape dancers used Murray’s poem as a starting point for this section by each selecting words from the text then developing this into short phrases. Refer to page 12.

Sally viewed and selected the movement made and picked the vocabulary that most interested her, reordering all three contributions into a new phrase. Sally picked interesting dynamic qualities, rhythms, facial expression, gestures, and character traits as well as movement that looked most original.


Solo Task: • Using the poem, select four words that most interest you. • Now create between 2-8 movements for each word. • Consider shapes, dynamics, and facial expressions • Reorder and structure the movements into a phrase and prepare to

perform.

Group Task: • In threes, watch each others phrase and select the top 4 actions

from each solos. • Combine the selected movement together and rehearse as a unison

phrase. • Rehearse dynamic qualities, rhythms facial expressions and facings

Watch a clip of the Gardening section to learn repertoire step by step

Watch a vlog about the making of the Gardening Section HERE

gardenhttps://youtu.be/zwmHTBk17oQgardenhttps://youtu.be/zwmHTBk17oQhttps://www.youtube.com/watch?v=f4QLFt6Sva4https://www.youtube.com/watch?v=f4QLFt6Sva4

Challenges… • Consider the dynamic qualities of the words • How can you develop your pathways and facings to alter the appearance of

the movement • Consider levels and focus to suggest status • Find a motif and develop this within the phrase


Prologue text

Oh of course you’re no better than them And they’re no better than you But of course you know ‘you’ by the things that you do Because that’s what defines you as you What did you choose that they did? What did you choose that they didn’t? And what did you choose to make ‘that’ bit of you Become very much just what they isn’t What did they choose that you wouldn’t And what did you choose that they couldn’t And what did they choose that you had to excuse Because you knew its something one shouldn’t ?

Toms’s imagery and response

• strong arms • leg extensions • looking back • lunge

Jessamin’s imagery and response • pointing • stepping

forwards & backwards

• tight spin • head roll

Sioda’s imagery and response • sweeping

turns • fast footwork • sudden

gesture • quick step

directions

Task Sheet: Trio The dancers used a Prologue Script as the starting point for developing solos. (see p12) Each dancer selected words from lines in the script to create movement material. Once the solos had been developed and rehearsed Sally asked the dancers to watch each others and at any point shout ‘pause’. They were then allowed to interrupt the dancer by lifting, shifting or manipulating with contact. Once done, the dancer can continue with their solo. This is improvised and refined to become an interruption that will stay within the solo. Once each dancer has been watched and a moment of contact set Sally asked all three dancers to perform their solos in the space with all of the interruptions.


Discussion: Watch the rehearsal clip HERE What technical and performance skills do you see visible in

the rehearsal?

Create your trio: • Pick a selection of words from either Sioda, Jessamin or Tom’s and

develop movement that translates the imagery into gestures, turns, jumps and stepping patterns

• Perform your solo to the other dancers in your trio and play the PAUSE - INTERRUPT game until you have manipulations and contact that works.

• Now rehearse dancing the solos in the same space with the interruptions.

https://www.youtube.com/watch?v=5L4dLOxyeDMhttps://www.youtube.com/watch?v=5L4dLOxyeDM

Task Sheet: Social Environments Neil Paris used photographs as a starting point for developing characters and body language. Look at these on page 14. The dancers selected shapes, gestures and body parts in the photographs to mould into their own pedestrian movement. They also thought about the dynamics and scale of the movement

to discern a personality and stylise the character.

This use of pedestrian actions and stylised gesture is common in Dance Theatre. Sometimes the dancers will use sounds or words, exaggerated facial expressions and key costume items to characterise them further. In TASTE the dancers use hats, jackets, rings, shirts and feather boas. Neil also encouraged discussion about the characters back stories and thought processes to create narrative and intention. They studied the images and developed the story behind the person in the photograph. This was particularly relevant for Tom’s character as he studied a female wearing sovereigns as his ‘mother’. What values would she have taught him? What was his upbringing? What job does he have?


•Find photographs and film footage of dancing in a social environment • Pick out gestures and pedestrian (everyday) actions from the stimulus and develop a

string of tableaux or movements • Put on a playlist of ‘club’ or party music and improvise with scale, speed and

repetition of the pedestrian actions and movements • Once you have selected a series of actions that communicate the social dancing and

Research 5: Look at other dance companies that use pedestrian movements and social dancing to communicate real life settings: DV8, Matthew Bourne,Charlotte Vincent, Jasmin Vardimon etc.

Identify the social dancing and pedestrian actions used. What environment are they trying to depict?

Analyse the contribution of the physical and aural setting.

Task Sheet; Characterisation using props

Tables and tableware were used to depict various tastes in interior design and values. Sioda’s character explores the behaviours and scenarios that each dinner table may signify. Tea cups, mugs and coffee

cups were used to highlight differences in taste and personality. Filter coffee? Earl grey tea? Tea in a mug? Cup and saucer? Whats your favourite mug? What does it say about you?


• Using tables and chairs create tableaux that depict three very different ‘dinners’ e.g family tea time, dinner party, high tea

• How do you interact, move around the table, eat and sit?

• Develop three interactions for each ‘dinner’ and consider the music choice for each one.

In 2’s 3’s or 4’s select a cup, mug, champagne glass, pint glass etc each and develop a short phrase that travels and changes levels. Dance the solos together and adapt the pathways to move around each other.

Extension • What do you treasure most? Discuss what this means in terms of your values? • Bring this item into the studio or imagine holding the item. Pick 4 words that link to how you feel about the object. • Use these words to develop shapes and gestures that reflect the story and emotions surrounding the object. • Select a piece of music that creates the right atmosphere.

Watch Sioda rehearsing her solo using her boxes and dining table props HERE How does she interact with the props? What motifs do you see that identify Sioda’s character or emotion?

https://www.youtube.com/watch?v=a-C4TceaZnUhttps://www.youtube.com/watch?v=a-C4TceaZnU

Task sheet: Warm ups and games

The dancers warm up every morning using a variety of techniques that reflect their own training. Simon Birch led Graham Technique class, Sally taught Pilates and Sioda delivered Yoga classes. They always play games too.

Games /Warm ups Rules Resources Activity

Slow motion tag You have to stay in slow motion when catching and reacting

Just participants but costume and props could be added

Slow motion chase! Use exaggerated facial expressions

Pass the click Use eye contact and silence

Just participants Standing in a circle pas a click around the room, maintaining eye contact.

Practice walking about the room and continue to pass the click.

Yes Lets! Whatever suggestion the leader makes, everyone has to do it!

Just participants but you can pass random objects to the leader to interact with

The leader says “lets be a …/lets sit at a…/lets eat an ice cream../ lets swim in..” Everyone joins in committing 100% Then someone else takes over.

Disco Bingo Follow the leader and copy them exactly

A playlist of music

Each dancer picks a number at random and the teacher plays the associated track

The tracks are played in a random order and when their track plays they lead the group in any response to the music they like


How do these exercises prepare them for their dancing day?

Rehearse a movement phrase you have recently learnt in unison and perfect the timing, shapes and formation.

With a partner plan a technique exercises that prepares the body for this phrase. Teach another pair your exercise .

Further resources TASTE tour 01 October Tolmen Centre, Constantine 01326 341353

02 October Barbican Theatre, Plymouth 01752 267131

03 October Bodmin College 01726 879500

04 October Grampound Village Hall 01726 883 874 / 01726 879500

07 October Exeter Phoenix 01392 667080 / 01392 726363

09 October Bridport Arts Centre 01308 424204

10 October Marine Theatre, Lyme Regis 01297 442138

13 October Helford Theatre, Truro College 01726 879500

14 October The Plough Arts Centre, Torrington 01805 624624

15 October Liskeard School 01579 340307

20 October The Roses Theatre, Tewkesbury

01684 295074

22 October Pavilion Dance South West 01202 203630

24 October The Guildhall, St Ives 01726 879500

06 November Melmerby Village Hall, Cumbria 01228 817590

07 November Brough Village hall, Cumbria 01228 817590

10 November Tacchi-Morris Arts Centre, Taunton 01823 414141

11 November Salisbury Arts Centre 01722 321744

14 November Buckland Newton Village Hall, Dorset 01300 345455

15 November Halstock Village Hall, Dorset 01935 891744

19 November Theatre Severn, Shrewsbury 01743 281281

20 November The Warehouse Theatre, Ilminster 07943 779880 


Resources and links

Cscape Dance Company www.cscape.org.uk

Kneehigh Theatre www.kneehigh.co.uk

SMITH Dance Theatre www.agnesandwalter.co.uk

Fabulous Beast Theatre www.fabulousbeast.net

Murray Lachlan Young www.murraylachlanyoung.co.uk

Panta Rei www.pantareidanseteater.com

O- Region www.o-region.co.uk

Dance Republic 2 www.dancerepublic2.com

Royal Shakespeare Company www.rsc.org.uk

Grayson Perry Articles, Tapestries & Documentary

www.artscouncilcollection.org.uk/file/5681/download

http://www.channel4.com/programmes/in-the-best-possible-taste-grayson-perry/4od

http://www.theguardian.com/lifeandstyle/2012/aug/03/tea-with-grayson-perry-supper-dinner

Jeremy Deller Articles

http://www.theguardian.com/society/2015/jul/01/art-venice-biennale-jeremy-deller-zero-hours-contracts

DV8 www.dv8.co.uk

Matthew Bourne New Adventures www.newadventures.net

Jasmine Vardimon www.jasminevardimon.co.uk

Charlotte Vincent www.vincentdt.com

Falmouth University www.falmouth.ac.uk

Battersea Arts Centre www.bac.org.uk

Cscape Pilates www.cscapepilates.co.uk


http://www.cscape.org.ukhttp://www.kneehigh.co.ukhttp://www.agnesandwalter.co.ukhttp://www.fabulousbeast.nethttp://www.murraylachlanyoung.co.ukhttp://www.pantareidanseteater.comhttp://www.o-region.co.ukhttp://www.dancerepublic2.comhttp://www.rsc.org.ukhttp://www.channel4.com/programmes/in-the-best-possible-taste-grayson-perry/4odhttp://www.theguardian.com/lifeandstyle/2012/aug/03/tea-with-grayson-perry-supper-dinnerhttp://www.theguardian.com/society/2015/jul/01/art-venice-biennale-jeremy-deller-zero-hours-contractshttp://www.dv8.co.ukhttp://www.newadventures.nethttp://www.jasminevardimon.co.ukhttp://www.vincentdt.comhttp://www.falmouth.ac.ukhttp://www.bac.org.ukhttp://www.cscapepilates.co.uk

Cscape Workshop Information

inspire. energise. excite. create

Cscape has 10 years’ experience working in the education sector and we are committed to delivering high-quality dance and combined arts education to all ages and abilities. We are professional, reliable and dynamic; whilst being down to earth and approachable.

Offering bespoke workshops, residencies, performance projects as well as long-term input into schools, our team is enthusiastic and passionate about arts education. Workshops and projects are individually adapted and tailored in consultation with the teacher or group leader to fulfil the needs of the group.

We have worked with many different sectors including: • Professional Development and CPD for teachers * Youth Dance • Early Years • Primary Schools • Secondary Schools - GCSE, A-Level and BTEC • Further Education colleges • Universities • Adults and the Elderly • Hard to Reach Young people including work in PRUs and with care settings

‘The Cscape team are confident and experienced practitioners. Superbly organised, resourceful and knowledgeable, they brought their professional experience directly into the studio. Commanding instant respect through natural leadership qualities and rapport with the students. Exciting, dynamic, passionate about dance and theatre, this company is like gold dust! I certainly will snap them up as often as I can!’ Alison Dures, Head of Dance and Drama, Bodmin College.

Please contact us for an informal chat. Once we have discussed your individual requirement we will help you develop a customised educational programme specially tailored to your needs.

[email protected]


Acknowledgements TASTE is proud to be supported by Arts Council England, FEAST, Cornwall Council, Pavilion Dance South West, Hall for Cornwall, Falmouth University, Dance Republic 2 and The Tolmen Centre.

TASTE is also part of “Shift and Share”: a Pavilion Dance South West Strategic Touring Funded Project. Shift and Share is a collaboration with partner venues in the South West committed to bringing dance to more audiences and is supported by Arts Council England.

This education pack was put together by Suzie West, a freelance dance in education artist and performer. If you would like further information on how to use this pack please email [email protected].

mailto:[email protected]

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