Fourteen Days choreographers speak about their work

April 25, 2018

Fourteen Days, our latest show which premiered 10th October 2017, is a thought-provoking exploration about the methods artists employ to create their work. Given just fourteen days, 4 internationally acclaimed choreographers worked with 4 world-renowned composers to make 4 new commissions that challenge and stimulate both the audience and the dancers. Highlighting the diversity of styles and approaches, the show plays with the concept of balance and imbalance and proves to be an exciting, varied programme of dance and music.

 

With a score composed by Scott Walker, award-winning choreographer Javier de Frutos created The Title is in the Text. Set on a seesaw, the choreography takes the concept of balance and imbalance literally. De Frutos explains: “I like the idea of doing stuff that is not flat on the ground. Something that makes an ordinary movement extraordinary, that puts people in a different situation. Anything gets heightened because there is an element of danger, which means that the body reacts differently to it. It’s evocative of something.”

 

The second work, Human Animal, was choreographed by Iván Pérez before composer Joby Talbot wrote the score for the piece. “It is a meditation propelled by a question: Why do we seek for what makes us different from other animals?” says Pérez. “Inspired by the mysterious human attraction towards the wilderness and the night, where definitions are threatened, this work unapologetically envisions a future where our animality is present rather than repressed.”

 

For Us, the third piece of the evening, world-renowned choreographer Christopher Wheeldon paired up with composer Keaton Henson, explaining that “You don’t really ever quite know what to expect on day one, I certainly didn’t come into the room with much of a map. I have an idea of the kind of energy and the kind of rhythm that I’m trying to create with them physically. It’s a little bit like a jigsaw really, kind of cutting out the shape of the jigsaw and then finding the next shape for it to slot into. I’m trying to keep it subtle, at this stage, in its suggestion of any kind of defined story, and see where we get to by the end.”

 

The final piece, The Indicator Line, was made by choreographer Craig Revel Horwood with music by composer Charlotte Harding. In contrast to the first three works of the evening, the piece has a very clear narrative: “My great-great-grandfather was a champion clog dancer of 1871, so I decided to have clogs made for all the BalletBoyz, but the movement itself is developed through what you would do if you were gold panning in the 1850s. My great grandparents came from Ballarat, and they were gold miners. They were also charged taxes, so of course everybody clumped together in their thousands, which led to the battle of the Eureka stockade, which does, unfortunately, end in 27 miners being killed within ten minutes. That’s what we’re trying to recreate.”

 

Book your tickets to catch us somewhere out on tour here. 

 

Fourteen Days is also available to buy as a DVD from our shop.

 

 

 

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