Natalie Weir’s The Host - QPAC · PDF fileNatalie Weir’s ‘The Host ... chandelier!made!with!top!hats.!!!! ... Shostokovich,String Quartet!no.!8!in!C!minor,! Opus!110! 1:Largo!

Natalie Weir’s ‘The Host’

INTRODUCTION

… to the Teacher Resource Pack The following pack is designed to give teachers and students an exclusive insight into the creation and presentation of Expressions Dance Company’s 2015 production of ‘The Host’. To create the Teacher Resource Pack, we examined the 2010 Senior Dance Syllabus, paying particular attention to teacher and student needs for Appreciation and Choreography. We also sought to provide dance teachers and students with a unique perspective on the creation of the work, to further their understanding of choreographic and design processes and how this translates into performance. We have also provided some example Appreciation and Choreography tasks, which could be used as stimulus for assessment tasks after viewing the performance. EXCLUSIVE Access to the creative team and their methods… EXAMINE Example assessment tasks… EXTEND Themes and ideas surrounding the work, and how these could be explored further… EXPRESSIONS Background information on Expressions Dance Company…

THE HOST TEACHER RESOURCE PACK

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TEACHER RESOURCE PACK CONTENTS Introduction 2 Synopsis and information about Natalie Weir 3 EXCLUSIVE Interview with Natalie Weir and Storyboard 5

Character summary 8 Interviews with the dancers 9

Costume sketches by Gail Sorronda 13 Interview with Gail Sorronda 14 EXAMINE Example Appreciation Task 1 15 Example Appreciation Task 2 16 Example Appreciation Task 3 17

Example Choreography Task 1 18 Example Choreography Task 2 20 Example Choreography Task 3 (Classroom task) 21

EXTEND Extend, Explore, Connect and Engage 22 History of EDC 23

We are very interested in the continual improvement of our Teacher Resource Packs. If you have any feedback on the pack, please feel free to us know. Contact Expressions Dance Company on [email protected] or 07 3257 4222.


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‘THE HOST’ (2015) PRESENTED BY EDC & QPAC

Synopsis You've never been to a dinner party like this before! Combining gripping dance theatre with a touch of explosive fun, 'The Host' will take you on a thrilling ride through the lifestyles of the power hungry. An elegant dinner party hosted by an influential young man for his manipulative guests is thrown into turmoil when power meets greed, ambition and jealousy. As the evening wears on 'The Host' exposes society’s insatiable desire for control and status and the power play between the guests intensifies as the accusations start to fly. 1-‐9 May 2015

Cremorne Theatre, QPAC

An elegant dinner party hosted by an influential young man for his manipulative guests is thrown into turmoil when power meets greed, ambition and jealousy. As the evening wears on The Host exposes society’s insatiable desire for control and status and the power play between the guests intensifies as the accusations start to fly.

Who really holds the power at this sophisticated table? And who will be in control by the time coffee is served?

Combining gripping dance theatre with a touch of explosive fun, The Host will take you on a thrilling ride through the lifestyles of the power hungry. You will be struck by the luscious design, including dazzling costumes by Brisbane-‐based fashion designer Gail Sorronda, and the enduring story told by multiple award-‐winning choreographer, Natalie Weir in this world premiere production.

Presented by Expressions Dance Company and Queensland Performing Arts Centre

Concept and Choreography – Natalie Weir

Dancers – Expressions Dance Company

Musical Director – Tania Frazer

Costume Design – Gail Sorronda

Lighting Design – Ben Hughes About Natal ie Weir Natalie is known internationally for her highly physical partner work, her organic movement style and her touching insight into human nature. On her journey with EDC as Artistic Director, Natalie continues to create work that balances artistic risk with accessibility and that speaks of humanity. Natalie Weir has created over 160 professional works in her 25+ year career. She was a founding member of Expressions Dance Company and was offered her first choreographic commission by Expression’s artistic director, Maggi Sietsma at 18. Natalie was resident choreographer for Queensland Ballet and Australian Ballet and has worked extensively throughout Australia, creating works for the country’s other major classical and contemporary dance companies, including West Australian Ballet, Dancenorth and Australian Dance Theatre. Career highlights include creating Petrushka for Queensland Ballet and Dark Lullaby for the Australian Ballet.


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Natalie has also created works for, or had her works performed by, international companies such as Houston Ballet, Singapore Dance Theatre, Hong Kong Ballet and American Ballet Theatre. Natalie’s work has been recognised through Helpmann Awards for where the heart is (2011), Australian Dance Awards for where the heart is (2011) and R&J (2012). Her work Steppenwolfe for Houston Ballet received the prestigious Choo San Goh Award and her original version of Turandot for the Hong Kong Ballet received the 2004 Dance Award for Best New Work. Natalie was appointed Artistic Director of EDC in January 2009, fulfilling her long-‐term dream to build an ensemble of dancers and contribute to the future of Australian Dance.

EXCLUSIVE Introduction to ‘The Host’ by EDC Artist ic Director, Natal ie Weir (16th Feb 2015) 1. What is the story presented in ‘The Host’? ‘The Host’ is an idea I have played with over time in my career. It intrigued me. It’s set around a dinner party and I guess it really is an observation of status, power and the manipulation of power. A little bit of a social comment I guess. It is a dinner party that deteriorates into craziness. The Host is a young man of great wealth that he has married into. He manipulates the guests at the table and they all want something from him – his stature, his money or his power. There is a bit of a twist at the end because his wife really is the one who has all the power, not him. It is a narrative work. 2. What roles do each of the dancers play in ‘The Host’? Jack is the Host. Ben is the Wannabe social climber and will do anything to get to the top and will walk over whoever to achieve that. Elise is the Hostess, Jack’s wife. She comes from old money and she is an ageing wealthy woman. Jack has a lover (younger woman -‐ Michelle) she manipulates him is other ways. Daryl is a man who once had a great empire but has fallen and lost his status. He is a bit of a has been and it is a bit sad really. He once was the boss but he has been overtaken by Jack’s company. Rebecca is a party girl going along for the ride. Cloudia is quite introverted and is a bit overwhelmed by it all. 3. Is it an Austral ian dinner party? Does it have a t ime or place context? It could be a party set any where is the world. 4. Does the storyl ine stem from a dinner party you were a guest of? The original idea came to me quite a long time ago when I was a young girl at a dinner party and I was sitting there and I thought, this would make a really good dance piece. I have played with this idea three times. Once when I was really young, then about 20 years ago with the Queensland Ballet and then 10 years ago with the Houston Ballet. It is just such a great idea, it allows for plenty of fodder. Everyone has been to a dinner party like that and everybody knows someone with wealth, power, status or the want for those things. It is a good concept because everyone can relate to it. It is set around a big table. The table is used very much as a prop that the dancers climb all over, under and stand of top of. Each of the characters want something different from that night so we are exploring all of that. It will have some kind of social context but is not particularly about someone. It is a bit fun, something different, very accessible, and sexy, fun contemporary dance. 5. You have a new collaboration with a fashion designer this year – Gail Sorronda, has that affected anything in the development process of the work? She is an amazing fashion designer. She is very famous more so internationally than here in Australia. She


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has a boutique down in James St – The Valley. She has never designed for dance but she is working in the contemporary fashion world and this idea really appealed to her. Her designs are so beautiful. The girls’ costumes are so elegant and it just gives it a different feel to it being a dance costume. The men all have different suits and different looks, so it looks rich and beautiful. 6. Musical ly, what can the audience expect from this work? I am working with Tanya Frazer again from The Southern Cross Soloists. She is currently pulling a lot of music together. There will be a string quartet playing live. She is looking for music for string instruments. The quartet will be placed in the balcony just off stage so they will hover over the action of the dancers. We decided that having them on stage will just add a bit more oomph to it. So it is eclectic music, mostly from older musicians who have passed away. The dancers may end up with some musical motifs as the work progresses. 7. How wil l the black space of the Cremorne Theatre be transformed for this work? The table will be the centre and then floating above centre stage will be a large chandelier and it will be a chandelier made with top hats. 8. How long does the whole choreographic process take? 8 weeks usually that has been split due to the working and development of our next work – ‘Seven Deadly Sins’ So we are playing around now with movement and character development. 9. L iving or Dead, who would you invite to your dinner party? Sting, because I love his music.

STORYBOARD – NATALIE WEIR’S – ‘THE HOST’

Scene Numbers and timing

Action Music

Scene 1:

We see The Host standing on table, with dinner guests frozen around the table. He crouches and begins to manipulate his guests-‐ who are like puppets.

Shostokovich,String Quartet no. 8 in C minor, Opus 110 1:Largo (Track 4)

Scene 2: The guests come to life and begin to interact and move at the table

Shostokovich,String Quartet no. 8 in C minor, Opus 110 111: Allegretto (Track 5)

Scene 3: Guests all move out from

table-‐ there is an altercation with The Host and The Wannabe, then they return to table and it resumes.

Above continues Full track: 4 mins

Scene 4: The Hostess entrance, and moves around table, asserting herself. Group moves away suddenly-‐ taking chairs

String Quartet No. 2 "From the Monkey Mountains", Op. 7: III. the Moon and I (Largo e Misterioso, Pavel Haas Quartet & Colin Currie String Quartets /Janacek, Haas/


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with them-‐ Host and Hostess duet around table, establishing troubled relationship

Track 53

Scene 5: Group comes back to

table, putting some chairs on top, Host stands on table, insecure girl solo-‐she moves away from table, does solo in pool of light. Table is moved to side as this happens, where guests freeze at it.

Seventh String Quartet Latinoameric, Sinister (Track 13)

Scene 6: She goes to upstage left and finds herself sitting in George’s lap-‐ puppet section

Continues Seventh String Quartet Latinoameric, Sinister (Track 13)

Scene 7: Insecure girl and wannabe duet

5 Pieces, No.3Schulhof (Track 9) 2 mins 40 sec

Scene 8: Host manipulates Has Been, end moves his chair to centre

Plucking

Scene 9: Mistress and Host: Mistress trying to assert power over Host. Hostess watches

Adolphe O Gesualdo Divine Tormentor 06 "More or Less" a fantasia based on Moro, lasso (BRENTANO QUARTET) (Track 25)

Scene 10: 2 mins 20 secs

Party girl and Insecure girl have an animated chat, which is interrupted by the Host.

String Quartet in D Minor, Op. 56, "Voces Intimae": II. Vivace. Jean Sibelius (Track 19)

Scene 11: Host interrupts chat, trio between Host, Hostess and Mistress, each woman using their legs and feet like daggers. This is from The Hosts perspective.

Seventh String Quartet Latinoameric: Calm Reflective Track 14

Scene 12: The Hostess solo-‐she

worries about her age and her broken marriage

Beethoven String Quartet in B sharp minor

Scene 13: Has Been solo at table-‐ thinking back to his day in power and the loss of that-‐ quite nostalgic

Adolphe (Track 26)

Scene 14: Group re gather around table-‐ Party gets on table-‐ imitating the Host. The Host appears above on balcony in front of orchestra, and begins to manipulate Party Girl with invisible strings-‐ she is a bit like the Coppelia doll.

Scene 15: Party girl and Wanna be-‐ String Quartet No. 3, Op.


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table on side

19: II. Thema mit Variationen. Geheimnisvoll bewegt, nich zu schnell -‐

Variationen I-‐VII (Track 16)

Scene 16: Group all run at table, dribble off, Hostess is on Front, Host on back, rotate table. Host and Hostess

move forward.

Scene 17: The Host and Hostess When Darkness Falls: Secret Garden (Track 40)

Scene 19: Wanna be on table Beethoven no. in c sharp minor

Scene 20: Host enters, fight Scene 21: Table goes crazy-‐ all

ripping and manipulating The Host

Unaccompanied Cello Suite No. 2 in D minor, BWV 1008: Allemande

Scene 22: The Host solo Unaccompanied Cello Suite No. 2 in D minor, BWV 1008: Allemande

Scene: 23 Host standing-‐ guests all start to stalk him, he

puppeteer everyone-‐ like he is playing a musical

instrument

Prokofiev-‐ Dance of the Knights

Scene 24: Hostess enters, conclusion When Darkness Falls


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Character Breakdown for ‘The Host’ – Who’s who?

The Host-‐ Jack Very wealthy, wears suit,

understated and classy. Could be a strong colour. A person who does not need to show off his money, it is apparent in the classic cut and style of what he wears. Powerful and strong. Potential to remove jacket. Want him to look stunning!

Leading Character

The Hostess-‐ Elise Woman who comes from money, slightly older, elegant, seductive, but has sadness, she is the true power of the dinner. Very classic and slightly old world.

Leading Character

The Has been-‐Daryl Man who once had money, faded, diminished-‐ his suit could look older and tarnished.

Leading Character

The Wannabe -‐ Ben Young man with little money but great ambition, dresses the part but does not have personal wealth, wants what the Host has-‐ he is a bit if a leach!

Leading Character

The Younger Woman -‐ Michelle

Very sexy, young, less class, more ambition, very seductive, shows more skin.

Leading Character

Rebecca-‐The Party Girl Just wants a good time, strong and no cares in the world

Cloudia-‐ Insecure Girl Is out of place at the dinner party-‐ insecure and out of her depth


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Interviews with the EDC Dancers about ‘The Host’

El ise May(The Hostess) 1. Which character do you play in the host? My character is the Hostess. 2. What characteristics of your character will we see? As the wife of the host I am elegant, wealthy and accustomed to a life of social exchanges, dinner parties and entertaining. I am an accurate judge of character, and can usually detect the underlying desires and ambitions of the many

acquaintances that I make, both male and female, within a short space of time. I am polite and respectful in all situations and have developed a flair for making guests comfortable through conversation and polite exchanges. Sometimes I wish I could go back and live my life with more freedom and excitement. I have always conformed to my family’s expectations and my responsibilities but I would have liked to have harnessed more spontaneous approach to many things in life. My husband and I don't have any children, and as I get older, my life is becoming increasingly solitary despite my experiences and the many friends and acquaintances that I have made. My private life and public appearance are at odds in many ways, in appearance I am busy and important, but when the guests disappear at the end of the evening I am idle and lonely. 3. Has the inclusion of a fashion designer influenced your movement in any way? From almost the beginning of the process, I had been fitted for my costume, and I felt the design was very integral to my character. Knowing that I would be wearing an elegant long dress and long draping sleeves certainly had an effect on my movement creation process with the choreographer. When creating the solo and duet movement material I used a long 'rehearsal skirt' to get a feel for the physicality required. When the legs are hidden in fabric, a different emphasis on the arms and torso was created. When the legs became incorporated, they were usually long, sweeping movements and extended shapes which create shapes when the lift and spiral around the body. The arms and hands have also become emphasised with the addition of a removable long, wide sleeved top worn over the dress, which also give added dimension to the movement of the arms. Jack Ziesing (The Host)

Q.1 The host is a man of wealth & power & holds himself accordingly. He views himself as superior to all his dinner guests, save for maybe his wife. He is cool, calm and confident. He is very calculating & extremely manipulative of his guests. Q.2 The host has a number of different relationships with his guests. In relation to his wife, he is respectful but bored & agitated with her. All is power

has been gained because of his attachment to her, therefore he feels he has no option but to keep her around despite his faded feelings for her. He views his mistress as his play thing. She entertains him for now but he also sees her as disposable when needed. Daryl Brandwood’s character is respected by the host but not overly. The host, as a younger man, rose through his senior ranks only to stab him in the back & take all his power & wealth. The host keeps his senior around for sentimentality & to save face. The young man played by Ben Chapman is nothing but a pest to the host. He sees a lot of himself in the younger man. Ambitious, power hungry & will stop at nothing to get what he wants. The host, being greedy & the perfect target for the young man, can't let him rise to his position of power. As for the gossiping girls, the host views them as nothing but pretty decorations for his lavish dinner party.


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Q.3 I think audiences will enjoy the dangerous & humorous interactions between the well-‐defined characters as well as the fantastic tracks that will be played live in the performance.

Michel le Barnett – The Younger Woman 1. Which character do you play in 'The Host'? I play the Host's (Jack) ‘lover’. 2. What characteristics/personality does your character present? -‐ manipulative -‐ two faced/

-‐ strong minded -‐ sexy -‐ cunning -‐ outwardly confident but perhaps insecure on the inside -‐ controlled -‐ not trustworthy -‐ paranoid -‐ selfish 5. What interactions do you have with the other characters? I watch 'The Host' -‐ Jack -‐ like a hawk. His every movement. His interactions with the other guests. I am extremely jealous of 'The Hostess' -‐ Elise. I want to be her. Elise can smell the affair between Jack & I. I am very aware of this and almost suck up to her. Perhaps overly nice to her face. I have a duo with Jack which I think is almost a bit of a power play? I am testing how far I can push the boundaries with him in terms of our relationship. How far can I push him until he cracks? Testing him in terms of his dominancy. I want his money. His power. His status. It is not about love. More lustful in a way. Using each other to gain something for ourselves.

Ben Chapman – The Wannabe

1. I p lay the socia l c l imber 2. My character is envious of what wealth and power that the host has and wants to have it all. I also am the charming character in the work who thinks he is a bit of a ladies man. 3. My character isn’t liked by the host because he can tell that I am only at the dinner party to take his power should he fall. As far as the women at the party he tries to court two of them unsuccessfully, one he freaks out and the other he just can’t keep

up with.


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Daryl Brandwood – The Has Been Q1. What characteristics are presented in your character’s personality? He was once a man who was the head of a powerful corporation but has now become bankrupt. He is holding onto his dignity and sanity by a thread. To the others at the dinner party he presents himself as calm and in control but he has inner turmoil. Q2. What will the audience love about this work?

I hope they enjoy such distinct characters and the interactions between us. It is like having a dinner party where secrets are revealed and there is a lot of gossiping and back stabbing going on too.

Rebecca Hal l – the Party gir l 1. Which character do you play in 'The Host'? ‘Party Girl’ 2. What characteristics/personality does your character present?

• Outgoing

• Vivacious

• Centre of attention

• Bubbly

• Effervescent

• Flirtatious

• Playful

• Self – destructive

• Low self – respect

• Social climber

3. Has the inclusion of a fashion designer being used for your costumes influenced your movement in any way? Yes, ‘Party girl’ is wearing a party frock with lots of frills! It has amplified her personality and influenced playful movement. 4. What do you think audiences wil l enjoy about this work? I think audiences will love the dramatic relationships between the characters and be drawn in by the various moods created. The use of the table will definitely excite the audience members and the shows unique quirks will leave them wanting more!

C loudia Elder ( Insecure guest)

1. Which character do you play in 'The Host’? An insecure guest with social anxiety. 2. What characteristics/personality does your character present? Very overwhelmed by the experience. She feels out of her depth and on edge. She has erratic, twitching movements and has trouble keeping eye contact with the others -‐ She is overly aware of everyone watching her every move & doesn’t want to take a step wrong.


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3. What have you enjoyed about the choreographic process for this work? I have been totally put out of my comfort zone with my roles characteristics and quirks. Being able to find the fine line between over doing the insecurity has been an exciting journey for me. My movements are faster than I’d usually create, so that’s been a fascinating challenge. I’ve loved finding new stories to create with each character & how that may play out in the end. 4. Has the inclusion of a fashion designer being used for your costumes influenced your movement in any way? Absolutely. I have a conservative dress on, which slightly shows my bare legs through some mesh. It also has a longer cape like back to the dress. I’m able to hide or peek out of the cape when needed & the slight uncovering of the legs allows for my character to slowly come out of her shell. 5. What interactions do you have with the other characters? At this point of the process, I interact with all the members around the table but in particular I work with Ben who plays the ‘want to be’ or the ‘manipulative male character’. I firstly think he’s charming and trying to help me fit into the equation, however I then realise he has a much darker idea. He becomes possessive and manipulative to the point where I need to push him away -‐ he’s dangerous. 6. Who would you invite to your dinner party? (living or dead) and why? I would invite Rebecca, the ‘party girl’. Because everyone needs someone to take the party to the next level. 7. What do you think audiences will enjoy about this work? The quirkiness of the work combined with a darker underlying message. As well as, how relatable it is to society today.


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Costume design by Gail Sorronda


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Interview with Gai l Sorronda 1. What brief/information did you receive from Natal ie to help develop your ideas for the dancers costumes for 'The Host'? I received a list of dancers and their corresponding role description. I also received various pictures of each of the dancers. There were a couple of meetings prior to also discuss the show in overview alongside some specifics. 2. How did you collaboration with EDC come about? I first met the CEO Libby and her daughter Ella as customers to the shop. I think there was an understanding of my aesthetic and Libby asked if I would like to be involved in The Host from there. It was my first foray into costume design; I love the idea of story telling so this was a nice way to diversify. 3. Did you come with a theme or concept in mind that revealed itself through your designers for the dancers? Were the dancers costumes individualised based on their characters or do they have a connective thread that makes them the same yet different? The costumes were individualised based on their characters but there is definitely a connective thread that makes them the same yet different. I had elements that I wanted to work with for e.g. Duality is a focus; ruffles and fluidity vs restraint and clean lines, Dark vs. light, black vs. white, masculine vs. feminine…these elements help tell the story. 4. Dead or al ive -‐ Who would you invite to your dinner party and why? Jim Morrison: because I think I knew him in a past life.

Jesus: because he is my favourite hippy.

Carl Jung: to talk about dreams and the Red Book.

Charlie Chaplin: as I had his porcelain doll as a child and received him again as an adult. I think his graphic pantomime aesthetic has forever influenced me.

Marchesa Luisa Casati because she was ‘a living work of art’.

Carine Roitfeld she is such a great muse and puppeteer of contemporary aesthetic.

Cleopatra: because she was such a powerful woman.

Archangel Ariel: because this energy governs the order of the physical universe; the sun, moon, stars, planets and our planet earth’s ecology. Given we are earth bound at the dinner party I think that would make for very interesting conversation.


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EXAMINE

Example Appreciation Task 1 Task: After watching ‘The Host’ and reading the information given by the dancers on their characterisation, how did the dancers descriptions of their character come to life? Use the evidence from the Movement and Non-‐movement components to justify your evidence. Students may wish to focus on all the dancers statements (depending on the year level) or on one or two. Your students could present this task as an essay or oral presentation. Students should justify their interpretations and evaluations by referring to the relevant dance components, skills and research. Example: If a student chooses Cloudia Elder’s character ‘The insecure guest’ they may write: Cloudia Elder from Expressions Dance Company, describes her character from the contemporary dance work, ‘The Host’ as an insecure guest. She describes her character in attending the dinner party as being, “Very overwhelmed by the experience. She feels out of her depth and on edge. She has erratic, twitching movements and has trouble keeping eye contact with the others -‐ She is overly aware of everyone watching her every move & doesn’t want to take a step wrong.” The movement descriptions given by Elder present her character as erratic, twitching, lack of eye contact, cautious and hesitant and she feels watched. When viewing Elder’s character in the performance of ‘The Host’, her description is matched perfectly by her movements. We see Elder sit hunched at the table, almost ball like as if she wishes to disappear from the situation. She is easily put back into her place if even a gleam of confidence is displayed with a simple click or clap from the Host himself. She twitches her shoulders and jerks about in her seat looking very uncomfortable. Her interactions with the other guests is minimal and she obviously prefers to be the wall flower in this context. Why she is invited to such a grand dinner party with people of power and stature is questioned by the audience. She just doesn’t seem to fit. As the work progresses, her interaction with Ben Chapman’s character sees her become braver in her movement and as Elder describes, “ I f irstly think he’s charming and trying to help me fit into the equation, however I then realise he has a much darker idea. He becomes possessive and manipulative to the point where I need to push him away -‐ he’s dangerous. This description once again was supported within the performance and movement vocabulary. We see Chapman’s overly friendly interactions with Elder’s character almost smothering her at times with large movements. The movement components not only support Elder’s description of her character but so does the non-‐movement components in particular her costume. Elder describes her costume as supporting her character’s personality. “I have a conservative dress on, which sl ightly shows my bare legs through some mesh. It also has a longer cape l ike back to the dress. I ’m able to hide or peek out of the cape when needed & the sl ight uncovering of the legs al lows for my character to slowly come out of her shell .” Once again within the performance, Elder’s costume helps to support her characterisation and movement to represent who she is at the dinner party. She is able to manipulate her costume as her character develops and as her character evolves within the work. The description provided by the dancers in their interviews and their live performance matched perfectly in enabling the characters personality come through their movement and with the support of their costumes. N.B – Students could also discuss any musical motifs presented within the performance that would support the development of characterisation as well as more detailed movement descriptions.


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Example Appreciation Task 2 Task: Watch ‘The Host’ by Expressions Dance Company. Imagining you are a reviewer from The Courier Mail, you are to write a review of the performance. Your review should explain your point of view on the overall artistic achievement of the work. You must include a discussion of the choreography and the dancers, as well as non-‐movement components such as the set design, costuming, lighting and music. Support your point of view with specific reference to the dance components and non-‐movement components used. Your students could present this task as an essay, and include appropriately referenced images of the performance with their article. Students should justify their interpretations and evaluations by referring to the relevant dance components, skills and research. Example: If a student chooses to review the costume design, they may write:

“Gail Sorronda’s costumes for ‘The Host’ are elegant and beautifully designed as you would expect from an internationally renowned fashion designer. Sorronda has taken into consideration that the dancers will need to be able to move well as this piece still demands a high level of athleticism and freedom of movement from the costumes. The costumes are elegant, sophisticated and match the storyline beautifully to support the tale of wealth, power and manipulation. Each character has been given a clearly assigned costume that immediately communicates to the audience who he or she is as a character. Jack Ziesing wears a full suit with tails and frilled shirt. This is a very traditional look and harks back to a modern poet’s blouse of the 17th and 18th century aristocrat. He is dressed quite formally to establish his power and status. Ben Chapman wears a much more relax suit with no jacket and matches his more pompous or arrogant attitude he brings to this party. He is the new man on the block and wants to show that he is different from the past (Brandwood) and better than the current (Ziesing) and he wants to set the trend for the future. Brandwood is dressed more similarly to The Host (Ziesing) to perhaps connect the old to the new. Brandwood once use to sit where Ziesing does in regard to power and influence and Brandwood is desperately trying to reflect that image through the use of a similar style more traditional tails designed suit. Each of the females’ costumes suit their characters perfectly and Sorronda needs to be applauded for that. Sorronda has thought hard about how her designs reflect the ins and outs of each personality present at the party. Rebecca Hall party girl wears a revealing and flirty dress that suits her character well. Elise May playing the hostess has a more demure and sophisticated dress suiting to her role and power within the storyline. The use of the cape to support Elder’s social anxiety worked excellently as a prop for her to manipulate throughout the performance. Overall Sorronda’s designs matched with Weir’s movement makes for a sassy and sensual contemporary dance dinner party.

Suggestion: Students may be given the set, music and choreography introductions from the Teacher Resources Pack, to help them identify the choreographic intent and the non-‐movement components. It is suggested that students are introduced to several dance reviews from The Courier Mail, Dance Australia and other publications, before writing their assignment, to assist them in getting the right feel with writing a review, as compared with an essay.


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If your students are attending a post-‐show discussion, they may even want to have questions prepared about the performance that they may ask the creative team.

Example Appreciation Task 3 Task: Watch ‘The Host’ by Expressions Dance Company. In a media release, the following statement was released to promote ticket sales and advertise the performance. The marketing manager wrote the following statement regarding ‘The Host’. An elegant dinner party hosted by an influential young man for his manipulative guests is thrown into turmoil when power meets greed, ambition and jealousy. As the evening wears on The Host exposes society’s insatiable desire for control and status and the power play between the guests intensif ies as the accusations start to f ly.

Who really holds the power at this sophisticated table? And who wil l be in control by the time coffee is served?

Combining gripping dance theatre with a touch of explosive fun, The Host wil l take you on a thri l l ing ride through the l i festyles of the power hungry. You wil l be struck by the luscious design, including dazzl ing costumes by Brisbane-‐based fashion designer Gail Sorronda, and the enduring story told by multiple award-‐winning choreographer, Natal ie Weir in this world premiere production.

Using evidence from the movement and non-‐movement components outline whether you agree with the statement above. For example: The marketing manager from Expressions Dance Company uses a long list of describing words to really draw in the audience to EDC’s new work – ‘The Host’ and these adjectives are clearly presented throughout the movement and non-‐movement components. Words such as elegant, sophisticated and luscious are all words used to describe this work and this is clearly demonstrated within the performance. Within the non-‐movement components, the stage is set with the simplistic yet quite dominant placing of the table centre stage to set the scene for this elegant dinner party. The use of the quirky top hat chandelier suggests to the audience that the guests in attendance to this event may be a bit arty, upper-‐class and perhaps have money as the selection of the top hat transports the audience to a time of true ladies, gentlemen and the manners and etiquette that was expected of that time, perhaps the late 1800s. The costumes designed by Gail Sorronda are luscious as suggested in the promotion material. By using an international designer and not a costume designer for this production, the dancers really do look like they could wear their attire to a very formal dining event. With the colour of black chosen, formality is set with the inclusion of suits, and sophisticated dresses. In Sorronda’s beautifully designed couture, the dancers appear comfortable in their second skin. The use of live accompaniment also adds an element of sophistication to the production. Similar to a typical household of the 1920s, the playing of orchestral music during a dinner party by way of a gramophone or radio was expected and added atmosphere to the evenings’ events and conversation. Weir’s selection of various strings music as a soundtrack adds depth to this work as string instruments can be played with so much emotion. They can be melancholy, spritely when plucked, dark and tormenting when the bow is drawn furiously back and forth across the bridge of the violin. The music also therefore supports the marketing manager’s statement as it presents and supports the mood of the narrative to show turmoil, intensity and the explosive nature when the dancers start to reveal the cracks in the Host’s façade.


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Overall both the movement and non-‐movement components support the statement made through the suggestion of many adjectives to describe EDC’s new work ‘The Host.’ Your students could present this task as an essay, and include appropriately referenced images of the performance with their statement. Students should justify their interpretations and evaluations by referring to the relevant dance components, skills and research.

Example Choreography Task 1 In The Host, we see very clear characterisation from all of the dancers. To develop these characters the dancers do a lot of in depth development and free writing to establish the intricacies of their character. This is to ensure that their movement becomes more about a dance language that their character might use in reality, not just simple movement being played by the dancer. Task: Complete the character development profile sheet listed below to establish your character. Once you have developed your character create an 8 count movement motif that represents the persona of that character. From that step develop a narrative where your character has been placed e.g.: dinner party, library, art gallery, hospital. Develop movement sequences that represents your character. Think about how they move in the space, travel around the space, interact with other people, how they stand, sit, greet someone all to develop a movement vocabulary for your character. Start defining your narrative – what journey will be reflected through your narrative? How does it start? Is there a complication that your character must overcome? How does your narrative end? Are there any underlying themes such as greed, love, power, sadness to shapes your character and your narrative. Think about your use of space and energy. Choose some music or a medley of music to represent your character Written documentation and/or a choreographic log could be used to justify choice of movement and non-‐movement components as well as your character profile. Students will need to explore, select and manipulate dance components and skills to convey their stated intent. Consider the year level of the student, and whether working with a partner to determine the duration of the work.

The Host – Character development profi le sheet Personal information Name and age Nationality – hometown and residence Occupation and salary Talent / skills Parents, siblings, spouse and children Physical characteristics Height Weight


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Race Eye colour Hair Colour Skin colour Distinguishing features Dress sense Mannerisms and habits Health and disabilities Greatest flaw Greatest quality Intel lectual and Mental characteristics Education Intelligence Mental illness Long term and short term goals Confidence How does your character perceive themselves? Is your character driven by emotion or logic? Emotional Characteristics Strengths and weaknesses Introvert or extrovert How does your character deal with anger, sadness, conflict, change and loss? What motivates your character? Any other distinguishing emotional characteristics Spiritual Spiritual beliefs – if any? Role spirituality plays in your characters life Character’s connection to narrative What is the characters role in the story? What is your characters relationship with other characters in the story? You may also wish your students to participate in an Expressions Dance Company contemporary dance Choreography workshop as part of the Performance Workshop package, to learn how the company goes about creating their own choreography.


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Example Choreography Task 2

Within the work ‘The Host’, much of the movement is set around the prop and set piece of the dinner table (large table and chairs). Task: Create movement that remains in total connectedness with the chair or table. Think inventively and creatively. During your choreographic process, play with the objects – how can you use it? Can you sit, stand, catch, lay, balance, carry, lift or dive on the object. What body parts can you use to ensure that you remain in contact with the props / set piece other than your hands? Once movement has been established, dancers will need to select appropriate music to match their contemporary movement. Think about mood, emotion or a narrative that may be reflected in the work. Is your character metaphorically chained to his/her work desk? Is your character an older person and is sitting applying make-‐up or doing their hair and they realize that age has wearied them or vanity takes over. Is your character waiting by the phone to hear some good or bad news? Is your character looking at framed photograph on the table of a lost loved one and can’t leave the table/chair for fear of losing them forever. Is your character sitting in a doctor’s office waiting to get back results from a test and you are worried? Students / Dancers need to think when choreographing about their use of space, manipulating the energy and selecting movement that truly shows their character or narrative. Students will need to explore, select and manipulate dance components and skills to convey their stated intent. Consider the year level of the student, and whether working with a partner to determine the duration of the work.


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Example Choreography Task 3 (Class activ ity or Year 11 Semester 1 task) Task: Below are the choreography notes taken directly from the repertoire of one table section from ‘The Host’. Using the inspiration / stimulus of a dinner party, students are to become either The Host, Hostess, Party Girl, Insecure guest, Wannabe or The Has Been and recreate their own dinner party. Each dancer is responsible for creating their own movement (1-‐3 mins) that will express through movement who their character is and how they interact with the other characters or dinner party guests. Somewhere within the presentation of the student choreography, students can present the EDC’s repertoire to present a unified movement of the dinner party. Students will need to explore, select and manipulate dance components and skills to convey their stated intent.

REPERTOIRE – TABLE SECTION FROM THE HOST Stretch hands forward and pull them back – flat hands Change hands from fists to hands R L back to hands R L Circular motion with R hand with side curve and sit tall, repeat L but do circular movement (grab glass) R fist in with L fist stretching further to centre of circle Pull back L R Shrug – on return low head and chest Lift R elbow lifted by your shoulder like you are laying on your arm and return to neutral Left hand over right hand – swipe Finger tap Grab your chin with your R hand – push up look at ceiling and back 8 counts – interaction with other people at the table Hands on the table – look up at the host – come down – grab your chair pull it in L hand R hand reaches across like you’re grabbing your neighbour’s dinner setting R L bring hands behind your back and cross fingers (promise) Move your chair out from the table Place hands on table Swing legs over to R side of chair Run around chair keeping hands on the table Place R hand forward spider fingers – L hand pulls hand back R hand stays placed on the table, leaning to L look under R elbow


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EXTEND

Explore The following themes emerge in The Host. It is suggested that these could be further explored and researched by the students, in order to enhance their understanding of the stimulus for the work.

• Power • Manipulation • Love • Lust • Control • Status (gaining and losing)

Connect Youtube, Vimeo and Facebook are valuable education tools, with secondary school students being very high users of the internet and social networking sites. Youtube There are many clips on Youtube that show the differing versions of Carmen or Carmen Suite that you can view to extend your knowledge of the work. Facebook Connect with Expressions Dance Company on Facebook! To become a fan, go to http://www.facebook.com/expressionsdancecompany

Engage These resources are listed as a reference point for students. They may be used for research, to connect the performance with easy pop culture references, or to understand the content in the work. A student might use some of the music as a stimulus to create their own work about Carmen. Or watch one of the films to prepare them for some of the ideas in the performance. Some of the resources were also used by the Creative Team in their development of the work. Websites The following websites may be useful for your students to learn more about the company, QPAC or any of contributing artists…

• Expressions Dance Company www.expressionsdancecompany.org.au

• QPAC http://www.qpac.com.au/

Literature For more information about Expressions Dance Company, why not check out…

• Brookes Street to Brooklyn, by Denise Richardson


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EXPRESSIONS DANCE COMPANY History Expressions Dance Company was founded in 1984 by Maggi Sietsma AM and Abel Valls. The Company gave its first performance in Brisbane in 1985 as part of the national conference of the Australian Society for Education in the Arts. The first production was Maggi Sietsma’s Snow Drops and in that first year the company’s commitment to presenting contemporary works by Australian choreographers was clear. Over the years Expressions Dance Company has featured the work of many Australian choreographers such as current Artistic Director Natalie Weir, Rosetta Cook, Graeme Watson and Sue Peacock. Between 1985 and 2008 Maggi Sietsma AM created over 35 works for Expressions Dance Company including the widely acclaimed Alone Together, Rites of Spring and Virtually Richard3. During his time as General Manager, Abel Valls also created original scores for many of the Company’s works. In 2009 the company welcomed a new Artistic Director, Natalie Weir, and a new General Manager, Libby Lincoln, who immediately set to work building on the good work done to date, and expanding the national and international reputation and reach of the rapidly evolving company. In 2010, Natalie Weir presented her first work as Artistic Director, Where the Heart Is, to great critical acclaim. This was soon followed by While Others Sleep, which also garnered high praise and was noted for being the first artistic collaboration ventured by presenting partner, Judith Wright Centre of Contemporary Arts. Throughout its history, Expressions Dance Company has received numerous awards and has also received invitations to perform in over 15 countries including The Taipei International Festival, The Ludwigsburg (Stuttgart) International Festival, The Beijing Modern Dance Festival, Tokyo’s Next Wave Festival, Linz (Austria) Dance Festival, The Guangdong Modern Dance Festival and the Busan International Dance Festival (Korea). Expressions Dance Company has received financial assistance from the Queensland Government through Arts Queensland and has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Training Partner

Documents

Natalie Weir’s The Host - QPAC · PDF fileNatalie Weir’s ‘The Host ... chandelier!made!with!top!hats.!!!! ... Shostokovich,String Quartet!no.!8!in!C!minor,! Opus!110! 1:Largo!