Richard Alston - Wildlife (1984) Lecture Review

Comprehensive practice questions covering the choreography, themes, collaborations, and movement analysis of Richard Alston's 1984 work 'Wildlife'.

Who is the choreographer and what year was Wildlife first performed?

The work was choreographed by Richard Alston in 1984.

In Alston's 2016 discussion, what did he identify as unique about the collaboration for Wildlife?

It was the first in his career where he collaborated so closely with music and stage design.

How does Sophie Constanti describe the collaboration in Wildlife?

'A rare example of a collaboration where no part becomes subservient to the other'.

What is the central theme of Wildlife?

An imaginary kingdom or place with its own culture, logic, rituals, and dances, inhabited by 'brightly plumed creatures of nature'.

What is the structure of Wildlife?

It is episodic, consisting of 6 sections.

How many dancers are featured in the work?

6 dancers (3 Male and 3 Female).

What book and author inspired Alston's vision for the community in Wildlife?

A book by Bernard Rudovski featuring 'extraordinary African huts and Mediterranean villages'.

What did the kites designed by Richard Smith represent in the imaginary kingdom?

The kites represented the jungle and the trees of that part of the world.

Who composed the music for Wildlife and what was the ensemble composed of?

Nigel Osborne composed the music for a small ensemble of wind, percussion, and strings, with a sounds projectionist adding stereophonic effects.

How did Nigel Osborne incorporate universal and ethnic influences into the music?

By evoking African and Asian environments while reflecting western minimalism through repeated rhythmic phrases and an underlying pulse.

What visual purpose do the kites serve when lowered and lifted?

When lowered they act as 'exotic foliage' and when lifted they act as 'the roof of a forest'.

In Section 1, how do the dancers interact with the kites and what does this emphasize?

The dancers perform behind and run around the kites, hiding from onlookers; this emphasizes the idea that the kites are foliage for the creatures.

What do the geometric designs on the all-in-one costumes refer to according to Alston?

A primeval or aboriginal community, acting as unique symbols to recognize the imaginary kingdom.

Describe the 'warrior motif' seen in Section 1.

The dancer steps into arabesque on plié, one arm is flexed at the elbow overhead with flattened palm, and the other extends in a straight line, finishing in a sharp relevé.

In Section 4, what is the significance of the yellow costumes worn by the male and female?

It links them together and suggests they are the first (or last) man and woman in the universe.

What is the source of the music for the Section 4 extended duet?

An Eskimo song played on clarinet and flute, originally used for calling spirits or as lullabies.

What instrument is used in Section 6 that has been part of the Shona culture in Zimbabwe?

The African Mbira, played for sacred ceremonies and celebrations.

Describe the final tableau of the piece.

Dancers are bent over and joined together in a horizontal knot pattern, reflecting the kites above.

What was the context for Alston's version of the final tableau?

He was inspired by a Romanesque sculpture of a frieze he saw at the Heywood Gallery (South Bank).

Name the three primary dance techniques identified as influences in Wildlife.

Cunningham technique, Release technique (Fulkerson), and Ballet technique.

How is the Cunningham technique influence visible in the costume design?

The closely-fitting bodysuits allow the audience to see the contours of the body, a practice frequently used by Merce Cunningham.

Provide an example of Ballet technique used in Wildlife.

A male soloist in Section 1 performs a full arabesque fouetté ending in a forward dive into penchée.