Practitioner Study 2

 Throughout my process so far, I have been using the methods and processes from numerous amount of practitioners, however, Marco Goecke is the main practitioner who has aided my versatility within my creative process. When investigating Goecks, 'Thin Skin', I was surprised with how much my attitude changed towards my choreography. I was making more intelligent decisions so my piece had justification. I am now studying another one of his works called 'Nijinski' which is a 'full-length ballet dedicated to Vaslav Nijinsky's life', ("Nijinsky" Ballet by Marco Goecke. Swiss premiere Ballet Zurich, 2019). Nijinski loved a man and a married woman which corrupted his fame and therefore, this choreography has generated a significant amount of emotional intensity which is usual in his work, however, as an audience member, I can clearly see how much more depth and tenderness there is to each movement. I connect with this piece, as my work is about losing myself to someone who has condemned me. Even though this hasn't happened to me personally, I understand there are many women and men out there who have experienced a domestic abuse relationship and have lost their identity. Similarly, in the way that Goeck uses music that sometimes may not always be comprehensible, his dancers nevertheless create an energized atmosphere that engages the audience from the beginning. Despite Kate Flatt's book, "Choreography: creating and Developing Dance for Performance", mentioning that 'music and dance share material moving together through time; moulding each other whilst expanding our perception,'(Flatt, 2019), I believe that music doesn't have to be the driving force in provoking a movement. In 'Nijinski', there are some moments of stillness that I have also added in my piece. It has reassured me that it does make a significant impact on the audience, as I was worried I could lose the audience's attention. 

'Nijinski in performance:

                                                                       
(Klein.2019)

Throughout this choreography, you become aware of the 'shivering, fluttering and cutting' that apply in each movement, (Batschelet, 2019). Despite each dancers body being 'extremely malleable', (Batschelet, 2019), the relaxation of breath aided the dancers to move with expansiveness and captivating presence. This was an important aspect when researching this piece, as for my work, I am going to add a section where there will be no music and my use of breath will help take my dynamic movements across the room.  The amount of space that the dancers cover encapsulates Nijinskis 'growing anxiety and mental instability,'(Vaghi, 2018), which I find enchanting as in both Thin Skin and Nijinski, despite the immense catalogue of movements, the dancers perform them with much precision. Despite the deep meaning of Najinski, the fuel and fire imbued with a vivacity that the dancer demonstrate has desire and a hunger to satisfy the audience. The combination of maturity and brightness that is emulated within their movements is a continuous component in Goecks work and one that I feel  I carry out in my own choreography. Despite the movements being extremely intricate, Goecke always finds a way to make them congenially harmonious and exceedingly enchanting.

The innovative and thought-provoking idea of Nijinski is perfectly portrayed within the backdrop which portrays Goecks modernism to dance. Even though I won't have lighting or any backdrops when I do my solo choreography, I will find it beneficial to analyse and reflect on how it could possibly affect my performance. In both Thin Skin and Nijinski, Goecks signature elements become prominent once again. One of his elements is a barely lit stage which creates an 'intense game of light and shadow', (Vaghi, 2018). I know this will be beneficial for me to think about as I want my choreography to have an effective intention and being aware of my possible surrounding will aid me in excelling my choreography to the next level. In addition to this, the work includes notes from Nijinsky's diaries and there are many 'growling and snarling sounds', (Vaghi, 2018). Using dialect in my choreography is always something I have been embarrassed and afraid by, however, this work has required me to think about how powerful it can be to portray my message. The use of speech links to my choreography as I can scream and gasp due to me being controlled and secluded from society, similarly to how the dancers use it to illustrate Nijinckies anxiety.

When watching an interview with Jan Casier, (a dancer with Ballet Zurich), he mentions that he wanted to, "have a build-up so the audience can grasp every stage...", (Nijinski Ballet Premiere ⎮ Marco Goecke ⎮Ballet Zurich, 2019). My aim is to have the same concept by repeating small gestures and making sure I have a good comparison between showing my tough exterior, to the more tormenting moments of an abusive relationship. Goecks unstoppable desire to capture the life of Nijinski on stage is perfectly complemented by the dancer's depth of emotion that is embued in each step that they meticulously perform.

Interview with Jan Casier from Nijinskis dance premiere

References

Danza Ballet. 2019. "Nijinsky" Ballet by Marco Goecke. Swiss premiere Ballet Zurich. [online] Available at: <https://www.danzaballet.com/nijinsky-ballet-by-marco-goecke-swiss-premiere-ballet-zurich/> [Accessed 17 January 2022]

Flatt, K., 2019. Kate Flatt Choreography creating and developing dance for performance. [online] Dropbox. Available at: <https://www.dropbox.com/sh/jvhszg9uizopfxk/AADJpuzvtvrwNn9B5c1PVBlXa/Level%206/Advanced%20Independent%20Choreography%20(MU60362O)/Kate%20Flatt%20Choreography%20creating%20and%20developing%20dance%20for%20performance?dl=0&preview=Kate+Flatt+Chapter+5.pdf&subfolder_nav_tracking=1> [Accessed 17 October 2021].

Nijinski Ballet Premiere ⎮ Marco Goecke ⎮Ballet Zurich. 2019. [video] Directed by E. Hock.

Regina Brocke Klein. 2019. "Nijinsky" Ballet by Marco Goecke. Swiss premiere Ballet Zurich. [online] Available at: <https://www.danzaballet.com/nijinsky-ballet-by-marco-goecke-swiss-premiere-ballet-zurich/> [Accessed 17 January 2022].

Rezvani, R., n.d. [online] Available at: <https://www.seeingdance.com/ndt2-souls-made-apparent-20032021/> [Accessed 17 January 2022].

Vaghi, K., 2018. Gauthier Dance: Nijinsky (Marco Goecke). [online] Bachtrack.com. Available at: <https://bachtrack.com/en_GB/review-gauthier-dance-marco-goecke-nijinsky-haus-der-berliner-festspiele-berlin-january-2018> [Accessed 18 January 2022].

Bibliography

Danza Ballet. 2019. "Nijinsky" Ballet by Marco Goecke. Swiss premiere Ballet Zurich. [online] Available at: <https://www.danzaballet.com/nijinsky-ballet-by-marco-goecke-swiss-premiere-ballet-zurich/> [Accessed 17 January 2022]

Flatt, K., 2019. Kate Flatt Choreography creating and developing dance for performance. [online] Dropbox. Available at: <https://www.dropbox.com/sh/jvhszg9uizopfxk/AADJpuzvtvrwNn9B5c1PVBlXa/Level%206/Advanced%20Independent%20Choreography%20(MU60362O)/Kate%20Flatt%20Choreography%20creating%20and%20developing%20dance%20for%20performance?dl=0&preview=Kate+Flatt+Chapter+5.pdf&subfolder_nav_tracking=1> [Accessed 17 October 2021].

Michal, S., 2017. Dancers in motion. Buffalo, NY: Amherst Media.

Nijinski Ballet Premiere ⎮ Marco Goecke ⎮Ballet Zurich. 2019. [video] Directed by E. Hock.

Regina Brocke Klein. 2019. "Nijinsky" Ballet by Marco Goecke. Swiss premiere Ballet Zurich. [online] Available at: <https://www.danzaballet.com/nijinsky-ballet-by-marco-goecke-swiss-premiere-ballet-zurich/> [Accessed 17 January 2022].

Rezvani, R., n.d. [online] Available at: <https://www.seeingdance.com/ndt2-souls-made-apparent-20032021/> [Accessed 17 January 2022].

Vaghi, K., 2018. Gauthier Dance: Nijinsky (Marco Goecke). [online] Bachtrack.com. Available at: <https://bachtrack.com/en_GB/review-gauthier-dance-marco-goecke-nijinsky-haus-der-berliner-festspiele-berlin-january-2018> [Accessed 18 January 2022].