Download the dance of the deadly sins

THE DANCE OF THE DEADLY SINS
Romans dancing and making music and the seven animals representing the seven deadly sins.
Miniature courtesy of the National Library of the Netherlands. The Hague, MMW, 10 A 11 fol. 68v Book 2, 19 DISCLAIMER: Images are used for illustrative educational artistic purposes only. They are “Public Domain” resources under free licenses or belonging to Creative Commons licenses. Sources are duly mentioned.
Page of
Contents
01. Introducing the Project ............
02. The Historical Contex t ..........
03. Abou t the Au thor ........................
04. The play tex t ...............................
05. The players ...................................
06. The synopsis ......................................
07. Connecting Spain
and England ................................
08. The New Production ..................
09. NONSUCH History and Dance
a. Company background
b. Recent credits, Spain
2
3
4
5
6
7-8
9-10
11
12-14
and the United Kingdom
c. Recent reviews
10. Behold the Ba t tles............................ 15-18
11. Bespoke Ba t tles ............................
19-21
12 Curso de Verano
Universidad Pablo Olavide,
22
Carmona .....................................
[1] Introducing
I
the Project
n 2014, Nonsuch History and Dance will be staging: THE DANCE OF THE
DEADLY SINS.
The new production combines intense physical theatre with dramatic dance and visual comedy in a highly colourful and dynamic spectacle. Based on a sixteenth century Spanish dance play, the historical research has been used to JHQHUDWHDSHUIRUPDQFHVSHFL¾FDOO\FUHDWHGWR
entertain today’s audience. [2] The
Historical Contex t
As one the UK’s leading professional dance companies experienced in performing historical dance spectacles, NONSUCH takes a theatrical approach that transforms historical dance into dramatic dance theatre. CROSS-CULTURAL TRANSFORMATION
The project of THE DANCE OF THE DEADLY SINS makes links between different European cultural styles found in dance, music and art of the medieval and renaissance period, in particular those forms known in Spain and England. THE DANCE OF THE DEADLY SINS is based on the dance play written in Spanish by Diego Sanchez de Badajoz, who died in 1549. He was a celebrated writer of poetry, plays and “farsas” (morality plays), and this text is unique in combining dance performance with spoken text allocated to the different characters. In 1554, the work was published in Seville. This was the year that King Philip II of Spain married Queen Mary Tudor of England, and the festive celebrations for such a union involved dance and spectacle. Similar shows such as THE DANCE OF THE DEADLY SINS would have offered moral instruction to the audience of the time, presenting the vices of both men and women, considering how to resist temptation, and advising against taking decadent pleasure too far. Movement and dance material belonging to Medieval and Renaissance courts has been developed into a contemporary dramatic physical language to allow the dancing characters to dynamically engage with each other as a performing troupe, and engage a modern day audience in the story they set out to tell: humanity trying to resist temptations in the real physical world. 3
[3] Abou t
the Au thoR
Diego Sanchez de Badajoz. 1479
- 1550
Diego Sanchez de Badajoz was a Spanish theologian, poet and GUDPDWLVW+HZDVDQLPSRUWDQW¾JXUHLQWKHGHYHORSPHQWRIUHOLJLRXV
WKHDWUHDQGRQHRIWKHPRVWSUROL¾FDXWKRUVRIIDUVDVSOD\VZULWWHQ
in the colloquial Spanish Language) in the 16th century Spain. The edition of his collected works, Recopilación en Metro, was published by his nephew, Juan de Figueroa in 1554, this included the dance play THE DANCE OF THE DEADLY SINS.
Little is known about his life. He was probably born in Talavera la Real around the end of the 15th century, and spent most of his life there. He may have attended secondary school in Salamanca, earning a bachelors degree, most likely in theology. He was a priest in Talavera Real, near Badajoz, from 1553 to 1549, and closely associated with both the Badajoz Cathedral and the Dukes of Feria. Primarily a theologian and moralist, he wrote many sermons and RECOPILACIÓN EN METRO, collected works of Diego Sanchez de Badajoz that include the dance play THE DANCE OF THE DEADLY SINS.
plays in verse, however, his autos, one act symbolic dramas with religious themes, were the cause of his renown. These were written in Spanish rather than the customary Latin.
The key importance of the work of Diego Sanchez de Badajoz is its contribution to the evolution of Spanish religious theatre. His drama had its own roots in the medieval liturgical theatre, with all 28 of his known plays having religious or moralistic orientation. This was akin to the morality and mystery plays of other parts of Europe, including England in places such as York, Chester, Coventry, :DNH¾HOGDQG(DVW$QJOLDThe Dance of the Deadly Sins¾WVLQWRWKLVFDWHJRU\ZLWK$GDPWDNLQJ
a journey, almost like a pilgrim from The Canterbury Tales.
The audience would have seen the plays annually at the Badajoz cathedral at festival times, and on carts out doors for the Corpus Christi. The oldest liturgical drama (12th century) written in Old Spanish language was The Auto de los Reyes Magos, belongs to the Christmas cycle. The Dance of the Deadly Sins continues this tradition of festival drama. Sanchez added touches of every day life to his fables by making use of secular elements without discarding the religious symbolism and theological discussions of the plays, often presenting his plays in the streets and plazas. Perhaps one of Sánchez’s greatest achievements in the theatre was his ability to relate theological subjects to average people in a meaningful and entertaining manner.
4
Dancers. Flemish 1338-­44 (margin) Courtesy of the Oxford’s Bodleian Library manuscripts 264, fol 51v.
[4] The
Play Tex t
Our aim is always to bring historical dance to a new audience in a contemporary and entertaining way. To achieve this aim, this new production will present the original1554 Spanish script intertwined with a newly written poetic English translation. Contemporary and entert aining
T
his new version builds on the wit and humour of the original Spanish verse, which makes the traditional medieval characters appear surprisingly modern with complex individual personalities. Bi-lingual
The bi-­lingual device in the script ensures that the play can be enjoyed simultaneously in both Spanish and English, with the drama being played out in full with the accessible non-­verbal language of dance and movement, accompanied by expressive music. Dance Scenes
The text of the play will form the structure for the different scenes presented through contrasting dance styles. Gittern, Dancing to. Late-­medieval, early 1400s. Courtesy of the Oxford’s Bodleian Library manuscripts.
Dancers. Flemish 1338-­44 (margin). Courtesy of the Oxford’s Bodleian Library manuscripts 264, fol 51v.
5
[2] The
Historical Contex t
[5]
C
The Players
omplex dancing characters
with multi-skilled performers
T
he versatile professional performers combine skills of actors, dancers and musicians, both interacting with the audience in an immediate way, and performing as part of an ensemble of players. Inspired by the Medieval Miracle Plays of Virtue and Vice these seven traditional cardinal sins will be performed by female dancers who set out to seduce, trap, and trip the leading man in the piece: WKH¾UVWPDQLQWKHZRUOG ADAM. Variety in
the Vices of Life
Each performer has developed D ZD\ RI PRYLQJ VSHFL¾F WR WKHLU
sinful characteristic. This requires the character of Adam to twist and turn in many different ways during the action to combat each dance attack, and take RQ WKHLU VSHFL¾F VW\OH ZKHQ WKH\ GDQFH
together. The Sins are so deadly that Adam can’t resist their dancing advances, although he continuously ends up falling at their feet. Throughout the piece, Adam meets all seven of the SINS: PRIDE, ANGER, ENVY, AVARICE, GLUTTONY, LUST, AND SLOTH.
6
Adam And Eve The Original Sin. The Codex Vigilanus (Albeldensis), ms d I. I. , f. 17. The Monastery of San Lorenzo de El Escorial Library manuscripts. Source: Wikipedia, the free encyclopedia.
[6] The
Synopsis
T
he Struct uRe
The dance play moves from different locations, each scene being created by the physical language of the dancers. We are all invited to join the journey and to witness the wooing, as each of the deadly sins presents their particular character, before combining as an ensemble, competing in one shared performance space. Adam is led by
the Shepherd
In the original text, Adam is led on a journey under the guidance of one Shepherd. In this new production two actors take on this role: one Spanish and one English. They alternate speaking, instructing Adam and narrating the events as they develop. (*) The Shepherds are comic rustic characters linking to the idea of common man: a Spanish pastores of el campo partnered with a down-­to-­earth ee-­by-­gum Yorkshireman speaking his mind. (*) These two shepherds perform as a double-­act in the piece, both commenting on the action and warning Adam and the audience of the dangers of entering the lair of each sin. They introduce Adam to a variety of dancing girls, translating their poetry so everyone knows which of the deadly sins they represent. (*) shepperds’ illustrations from MusicaAntigua.com,
post on Garcilaso de la Vega’s eclogue: “El dulce lamentar de dos pastores”.
7
The dancing girls meet Adam
Each of these dancing girls set out, one by one, to enchant and entice Adam, hoping that he may begin to follow them in their sinful dance forever. Each encounter takes inspiration from historical dance and music from the courts of Europe, with particular forms and styles selected to match each characteristic sin. Each different theatrical world presents the fatal attraction of each sin, before the dancing starts to expose the comedy that occurs when these human passions are taken to extremes. Fresco by Andrea di Bonaiuto, Way of Salvation (detail), 1365-­68, Cappellone degli Spagnoli (Spanish Chapel) of Dominical Cloister, Santa Maria Novella, Florence.
The ba t tle begins
H
aving moved through all seven scenes, Adam is exhausted and outnumbered. He is then wooed by all sins together, and whirled into a VSHFWDFXODU¾QDOe. T
his collaborative conclusion is a true highlight of the show, where many of the elements from the separate scenes are brought together. A new musical composition takes inspiration from the many themes and styles of the earlier episodes, but allows further crossovers and commentaries, only just avoiding collapse into chaotic cacophony. A
ll the dancers are now engaged together in the action, so that dynamic group choreography portrays the play’s historical themes in classical and contemporary dance theatre performance. The FKDUDFWHUV DUH VWLOO YHU\ LGHQWL¾DEOH DQG FRQQHFW ZLWK WKHLU PHGLHYDO VWHUHRW\SH EXW WKHLU ¾QDOH
costumes allow for movement that is free and wild. AGDP¾QGVKLPVHOILQDEDWWOHRIEXrlesque and must decide his own future by how he responds to their invitation to dance. 8
[7] Connecting
Spain and England
Great Britain and Spain. Atlas of Claudius Ptolemy. Naples, XVth c., “Biblioteca Histórica de la Universitat de València”.
THE DANCE OF THE DEADLY SINS is an ideal production for arts festivals considering historical performance from different cultures and the combined power of live music, dance and drama. Spanish and English collabora tion
NONSUCH will collaborate with Spanish Professional performers during our University summer school course and performances in Seville, before further exploring the piece for UK audiences. European research and reconstruction
TKHSURMHFWZDV¾UVWFRQVLGHUHGDVEHLQJUHFRQVWUXFWHG
following the research of Dr. David Sanchez Cano, presented at the conference of the European Association of Dance Historians held in Sevilla in 2010. The piece is an example of the Corpus Christi street theatre, popular in both Spain and England throughout the Medieval and Renaissance periods. 9
Cross-cult ural ou treach into
the local communit y
O
ur new production uses the concept of community and student involvement in promenade performance, as well as developing the dance theatre piece for performance at conventional theatre venues, historical performance sites and various major festivals. [Please see examples of how this production can be realised in different forms: BEHOLD THE SINS: [P.15-18] & BESPOKE BATTLES: [P.19-21]]
Educa tional events
The professional performers will also offer outreach projects and supporting educational events, directly involving the community in the presentation, and giving insight into how historical dance styles from different cultures can be understood today. [Please see examples of educational programmes: Universidad de Pablo Olavide, CURSO DE VERANO 2014: [P.22]]
EDUCATIONAL PROGRAMMES: UNIVERSIDAD DE PABLO OLAVIDE, CURSOS DE VERANO
Darren Royston;; Lina Gálvez Muñoz;; José Miguel Acal Fernández;; Stefan Paul Sánchez.
10
Juan Ávila Gutiérrez;; Miguel Ángel Gual Font;; Fernando Rodríguez Villalobos;; Vicente Guzmán Fluja.
[8] The
New PRoduction
DiRector & ChoReographeR:
DaRRen Royston
The direction of the production
NONSUCH pride themselves on their unique approach of making innovative, dynamic, and entertaining performances, based on historical material. Under direction of choreographer and period movement specialist Darren Royston, (movement tutor at RADA and dance consultant to Royal National Theatre and The Old Vic Theatre in London), the productions are given a relevance and immediacy for today’s audience. While connecting to historically researched ideas, the production uses the energy of dance to make the event appear fresh and to give the feeling that the audience of the moment are a vital part of this occasion. The Shepherds have been developed as narrators who make sure the audience never loses their way as the story unfolds, making the event feel personal to everyone who has agreed to come on the theatrical journey. Audience Accessibilit y
The Dance of the Deadly Sins is a new piece of dance theatre that considers categories of different types of excessive behaviour that are still particularly relevant in today’s society. Despite links to the Biblical characters, it is not a religious doctrine. The piece offers social commentary and considers how we all, as individuals, need to beware of indulging too much in the sins of the world, whatever our faith and beliefs. The dance theatre performance is created to be accessible for all age groups, with humour played on many levels. The poetic text is of interest to both Spanish and English speakers and language students, with the combination of the different performing arts making the production engaging for all members of the community, who can become part of the drama, dance and music.
Making the production relevant for today
The theme of temptation fuels the production, as the danger of taking things to excess and enjoying worldly pleasures too much for ones own good is exposed in a theatrical show that makes us think of our own excessive behaviour in the present day. Psychological archetypes are dramatised and brought into the arena, so that we recognise our own ways of behaving, which were in existence in the past and continue to reappear even today. The piece shows how human desire can be expressed through movement, in a powerful battle between dancing bodies, energised by sinful desires and in the foolhardy pursuit of pleasure. The PDLQFKDUDFWHURI$GDPLPDJLQHGDVWKH¾UVWPDQHYHUWREHFUHDWHGUHSUHVHQWVHYHU\RQHRIXVDV
we see humanity trying to keep safe and sane, as the sins push and pull him in different directions, WU\LQJWRIXO¾OOWKHLUDLPRIGHVWUR\LQJWKHYHU\H[LVWHQFHRIWKHKXPDQUDFHRQWKHHarth. The audience is involved directly with the theatrical experience, with promenade street performances FUHDWLQJ MRXUQH\V DQG SURFHVVLRQV IRU WKHP WR MRLQ VHWWLQJ XS WKHDWULFDO LQWHUOXGHV LQ VLWH VSHFL¾F
locations, before the characters meet in a combined danced battle on stage for the gathered audience to observe. The energy and immediacy of live theatre is vital in this current age, to bring people together in a communal theatrical occasion, away from their televisions and computer screens, where they can sense the physical interactions of the performers and the dynamic dance play. 11
[9] Recent
productions
Spain
he charming historic Andalusian City of Carmona in Southern Spain, a Roman stronghold in the time of Julius &DHVDURIIHUVDPDJQL¾FHQW
ambiance in which to set historical theatrical performance. With its splendid Palaces, Churches, Fountains, typical narrow cobbled streets and well preserved Arabic Castle and City Wall built during the long occupation of the Moors in Andalucia it is recognized as one of Spain’s National Monument Cities. Steeped in history Carmona HQMR\VDVSHFL¾FFRQWLQXLW\ZLWK
the past and is ideal for developing our particular work and research and for creating music, dance and theatrical performance.
2007
It is fortunate that Nonsuch History and Dance collaborated with the Centro en Carmona de la Universidad Pablo de Olavide, whose interests in our initiative combined with their own project to promote the cultural growth of the city . www.facebook.
com/olavideencarmona-­@
olavidecarmona
2008
NONSUCH has been working since 2008 on successful collaborative dance events at an International level especially between the United Kingdom and Spain. Nonsuch History and Dance held its ¾UVW,QWHUQDWLRQDO6XPPHU
School with Pablo Olavide LQ&DUPRQDZLWKWKH¾QDO
performance held in the Teatro Cerezo.
Puerta de Sevilla, 2012
Puerta de Sevilla, 2012
Carmona
12
2009
Pablo Olavide hosted a second very successful International Summer Course. The Artistic Director of NONSUCH taught this course combining the Method of Rudolf Laban with the technique and research based on KLVWRULFDOGDQFH7KH¾QDO
performance held in the Teatro Cerezo involved Spanish children of all ages from the local community. These had been auditioned from the local sports and gymnastics classes.
2010 Darren Royston Artistic Director of NONSUCH and Penelope Boff working together as ACADANZA co-­
ordinated on behalf of the European Association of Dance Historians and International Cultural Exchange Conference. This conference FUSION AND CONFUSION was held in collaboration with the Bienal de Flamenco and the Conservatorio de Danza and the Conservatorio de Musica in Seville. It was immensely well received and delegates visited from around the world. The conference was given over three days with the Papers given in the Casa de la Provincia and the practical workshops and performances taking part in both the Conservatorio de Danza and the Conservatorio de Musica. Students from both the Conservatorios were involved in workshops and performances. (a CD was produced covering aspects of the Conference). FUSION AND CONFUSION Conference, Seville 2010.
13
The welcoming speech was given by the Presidencia, Consejo, CID Alexsandra Ruiz Macias Delegation de Espana U.N.E.S.C.0 on Cultural Exchange through Dance in Spain and Antonio Alvarez Canibano of INAEM the Ministerio de Educacion y Cultura Espana gave a speech on Song and Dance An Introduction to Tonadailla de Blas. It was from the Paper given at this conference by David Sanchez Cano Songs and dances in the follas of 16th and 17th Century Madrid that the Artistic Director of NONSUCH has taken his inspiration for this new piece of theatrical performance The Seven Deadly Sins. PRIDE
14
Marcia painting Self-­Portrait using mirror, in the Giovanni Boccaccio‘s ‘De Claris mulieribus’ (Concerning Famous Women). 15th century / Bibliotheque Nationale, Paris, France. 2011 and 2012
Nonsuch History and Dance were invited by Pablo Olavide to bring a group of Dancers from the UK to perform in VLWHVSHFL¾FDUHDVLQ
Carmona. [10] Behold
the ba t tles
A thea trical performance
The Dance of Deadly Sins as a full-­scale theatre spectacle.
This version of the production will be an exciting spectacle, equally combining physical theatre, music, dance, poetry and comedy, exploring historic themes alongside contemporary performance. T
his presents the show as a fully seated performance, allowing the VWDWLRQDU\DXGLHQFHWRZDWFKWKHDFWLRQXQIROGDVHDFKSHUVRQL¾HG6LQLV
EURXJKWRQWRWKHVWDJHWRDWWDFNWKHUHSUHVHQWDWLYHRIPDQNLQGWKH¾UVWPDQ
Adam, who must defend his prime position throughout the dance drama.
C
OSTUME -­ Innovative and inventive costume design based on medieval court dress, transformed throughout the duration of the piece. Adam becomes transformed visually by clothing accessories and additions from each of the Sins. The Sins soon realise the power of revealing their bodies to him as the dance GHYHORSVDQGWKHSURYRFDWLYHSHUIRUPDQFH¾QDOO\EHFRPHVDEXUOHVTXHEDWWOH
M
USIC -­ Using historical dance music from Medieval and Renaissance periods to inspire a new contemporary score. The music is played live by the Shepherds as an on-­stage band, connecting to manipulated music from the recorded soundtrack. Minstrels. From the nave of St. Mary’s Church, Beverley.
15
D
ANCE -­ Based on appropriate historical dances from the courts of Europe developed with a Laban-­
based dance-­drama approach to create characters with a combined physical and poetic language.
Medieval Dances. Source: The Project Gutenberg eBook
THE DANCE PLAY
As the play opens, the cast walk among the audience. Adam is one them. The Shepherds call everybody to order: “listen up, and ye shall see the dance of the seven deadly sins!” Despite warning from the Shepherds -­ “from the highest to the lowest, no one can escape their dance” -­ Adam is lured onto on stage as PRIDE appears.
“Bow to me. Bow!” calls Pride, resplendent in peacock feathers, parading with the mostly stately Annunciation to the Shepherds. Courtesy of the British Library Online dance of the Pavane, she makes Adam dance the Catalogue of Illuminated Manuscripts.
galliard “on his tiptoes” making him ²¿\DERYHKLVEHLQJ³EHIRUHWULSSLQJKLPWRWKHJURXQG
ANGER takes this opportunity to enter, stamping in an angry Wrath (Ira). Hieronymus Bosch painting:‘‘The Seven Deadly Sins and the Four Last Things’’ (around 1500).
procession, with her army behind her, as if ready for battle. “Oh male, valiant and strong, who dared to hurt you? If you do not teach them a lesson, they will not know what you are worth.” She encourages him to dance secondly with her, using Estmapie and Torneo dances. Adam VXIIHUV WKH ²¾HU\ SDLQ³ XQWLO EXUQHG DQG FRQVXPHG E\ DQJHU KH LV
pushed once more, cruelly to the ground.
ENVY, meanwhile, has been watching the events unfold. “Pretty and preening” , she is writhing with jealousy that these two women have already caught his attention. Snake-­like, she dances her coranto and her chorus weave around Adam, heads looking all around, dancing WKHKH\ZHDYLQJIDUDQGRODGDQFHV7KH\¾QDOO\HQVQDUHKLP
LQ WKH ¾IWHHQWK FHQWXU\ GDQFH RI *HORVLD ZKHUH WKH\ HDFK
compete for his affections. 16
Envy (Invidia). Hieronymus Bosch painting:
‘‘The Seven Deadly Sins and the Four Last Things’’ (around 1500).
AVARICE enters, appearing as a witch-­like creature, grabbing, grasping, and hiding all she has from others: “don’t be scared of me, in my treasures I hide all that is worthwhile in this life.” Adam joins her, as their arms interweave in the allemanding dance patterns, while avariciously miming and dancing the Washerwomen’s Branle. Before long, she too kicks him to the ground, having squeezed everything possible from her partner. Avarice leaves before she has to share with anyone else, as Gluttony sees her chance to fatten up her captive.
Avarice (Avaricia). Hieronymus Bosch painting:
‘‘The Seven Deadly Sins and the Four Last Things’’ (around 1500).
GLUTTONY, is bold, loud, and inviting: “there’d be no fun frolics without my eating and drinking” she bellows, and subsumes Adam in a feast of food, music, and energetic country dancing, with choreographies from wedding dances such as the medieval rosti bolli gioisa – the dance of joyful roasted and boiled meats! Forgetting himself in merriment and gluttony, until stuffed and heavy, $GDPIDOOVWRWKH¿RRU
Gluttony (Gula). Hieronymus Bosch painting:
‘‘The Seven Deadly Sins and the Four Last Things’’ (around 1500).
With Adam helpless, LUSTHQWHUV6KH¿DWWHUVDQG
¿XWWHUVDURXQGKLPWHDVLQJKLPLQKHUGDQFH'DQFLQJWKHVHGXFWLYHVDUDEDQGHFRQQHFWLQJWR
its original saucy zarabanda dance with castanets, changing rhythm constantly, and teases all the senses of any passerby with her tickling movements. Adam is invited to get closer and closer, until trapped, he must try to link with embracing moves, desperate to have the object of his desire, until he powerlessly falls to the ground.
W
ith Adam getting weaker, SLOTH, sees her chance to win over this “deadbeat ass.” “I have taken many men to long idle lives,” she confesses as she suggests Adam should simply take the easy option and give up now. Adam tries to battle with Sloth, attempting to repeat the energy of dances from other scenes, but she dances her hynoptic fantasia, so he falls exhausted to the ground.
Source: Wikimedia Commons
Hieronymus Bosch painting: ‘The Seven Deadly Sins and the Four Last Things’’ (around 1500):
Pride (Superbia).
Lust (Luxuria). Sloth (Accidia). 17
“Tired of wicked dancing and brawling” Adam awakes. “Now I know my sickness, I regret my sins,” he shouts. Back on his feet and determined, Adam decides, once and for all, to conquer his Vices. With the good Shepherds as his allies, he calls all Seven Sins to the stage to tackle them head on as one combined group. FINALE: Here he is wooed into a spectacular end, a collaboration of new musical composition with dynamic choreography. A true highlight of the evening, encompassing the play’s historical themes performed with classical and contemporary dance styles, as all the Sins work as an ensemble. Adam remains in the centre, trying to hold a position of manly power, as the girls use every trick in the book to get him to dance with them. The Seven Sins cannot achieve their aim as separate individuals. Their GLIIHUHQFHVFDQEHPDQLSXODWHGE\$GDPZKRHQFRXUDJHVWKHLULQ¾JKWLQJWRPDNH
sure in the end he can stand strong. The only way the Sins could win him over would be if they were to unite. Could the Seven Deadly Sins become one whole being? As Adam wins the battle, successfully having combated each individual sin, an idea is born: what if the Seven Sins were all combined in one being which Adam FRXOGQRWUHIXVHWRDGRUH"$V$GDPVWDQGVDVWKHZLQQHULQWKLV¾UVWEDWWOHWKH6LQV
must leave the stage. Fresco by Andrea di Bonaiuto, Way of Salvation (detail), 1365-­68, Cappellone degli Spagnoli (Spanish Chapel) of Dominical Cloister, Santa Maria Novella, Florence.
18
[11] Bespoke
Sins
3ODFLQJWKH6LQVLQWKHLUGZHOOLQJSODFH6LWH6SHFL¾F6LQV
Based on a concept of promenade performance, this innovative production would be tailored individually for each venue, to promote and highlight the venue by drawing inspiration from the diversity of each space in setting the different scenes.
U
pon arrival at the venue, the audience will be placed immediately in the centre of the action, with some organised audience participation, making them feel truly involved in the story. They arrive at the house of each sin, quite literally!
They will be met on arrival by the two shepherds, who will hush them into order in the reception. They will meet Adam, the leading man, who is set to meet each of the sins individually. From here the assembled audience will walk alongside Adam and the Shepherds, journeying around the venue in a carnival style parade, with music and dancing. They will stop in the lair of each sin, located in a different space, to hear the poetic invocations and see the interactive dance performance, as Adam comes face to face with each mistress of WKDWSODFH:KHQWKHVLQ¾QDOO\UHOHDVHV$GDPWKH6KHSKHUGVZLOOKHOS
him on his way to the next location. 19
Types of Loca tions
PRIDE: a place of high majesty, splendour, and pompous grandeur. [Carmona: Ramparts of Puerta de 6HYLOODZLWK¿DJVDQGEDQQHUV@
ANGER: a place of violent attack, and a battle-­ground, where ferocious beasts could suddenly roar and claw at any moment. [Carmona: Lion Fountain and the colonnade].
ENVY: a place where each person can see other to FRPPHQWDQGJRVVLSVHHLQJRWKHUUH¿HFWHGLQPLUURUV
weaving around pillars, spying and wishing they could be in another person’s place. [Carmona: Around pillars and through trees].
AVARICE: a place where money and worldly possessions are held tightly and not shared. [Carmona: Plaza outside the Banks and Commercial buildings].
GLUTTONY: a place where eating, drinking and merry-­making could be taken to excess, as feasting becomes more excessive. [Carmona: Plaza of Restaurants, Bars, Gelaterias, Tapas route].
Ramparts of Puerta de Sevilla
Lion Fountain
20
LUST: ¾OOHG ZLWK VZHHW SHUIXPHG VPHOOV DQG LQWULFDWH GHOLFDWH PXVLF
but becoming decadent webs of intrigue, where the audience want to reach out and touch the silky fabrics. The castanets play erratic, erotic and seductive rhythms until they whip up the action to a wild frenzy! [Carmona: Passageways and Balconies leading to the theatre, where dancing takes over].
SLOTH: a place of time-­wasting, digression and idleness – where you PLJKW¾QG\RXUVHOIIDOOLQJLQWRVOHHSDV$GDPLVDOVRH[KDXVWHG>&DUPRQD
in the auditorium of the theatre]. The Central Arena:
E[KDXVWHG DQG RXWQXPEHUHG$GDP ZLOO OHDG WKH DXGLHQFH RQ KLV ¾QDO
journey to the main performance space where the evening will culminate in a seated performance. It is here which all the sins will gather together for a battle with the audience surrounding the theatre space. Being extracted from their location, each sin now only has the power of dance and movement to KDYHRQH¾QDOEDWWOHZLWK$GDPDQGZLQKLPRYHUWRWKDWSDUWLFXODUYLFH
7KLV¾QDOVHFWLRQXVHVJURXSFKRUHRJUDSK\WRDQHZO\FRPSRVHGPXVLFDO
VFRUHWKDWPL[HVDOOWKHHOHPHQWVLQWRDGDQFHWKHDWUH¾QDOH
Plaza San Fernando
‘Cerezo’ theatre
21
[12] Curso
de Verano,
UniveRsidad Pablo Olavide, Carmona 2014
First week of summer course: starting Monday 30th-XQH¾QLVKHV
Friday 4th July. Performance Friday 4th July. Aim of the CouRse:
The course aims to explore the relationships between dance, theatre and music, while considering the historical background in Medieval and Renaissance Europe, in order to reconstruct musical themes, dramatic scenarios, and historical choreographies for contemporary performance practice. 6SHFL¾FDOO\WKLVFRXUVHZLOOXVHD6SDQLVK'DQFH3OD\IURPWKH
Golden Age to create a new theatrical response. Each section will select an appropriate historical dance form from the courts of Europe. This material will be developed further with a drama approach based on the teachings of Rudolf Laban (1879-­ 1958). Laban created a method of training for actors and dancers that consisted of a series of exercises, improvisations, and analysis of space and the body, based on the study of human psychology and movement. The course will also be an incorporation of musical composition and contemporary choreography and will culminate Rudolf Laban
ZLWKDVLWHVSHFL¾FSXEOLFSHUIRUPDQFHDWKLVWRULFDOVLWHVLQWKHWRZQRI&DUPRQa. Summary of key points in the couRse
‡ &RXUVHIor dancers, actors, musicians and teachers ‡ 7KHFRXUVHZLOOEHWDXJKWLQ(QJOLVKDQG6SDQLVK7UDQVODWRU-RVH0DQXHO*DQGLD
‡ :RUNLQJZLWK1RQVXFK+LVWRU\DQG'DQFHIURPWKH8QLWHG.LQJGRP
‡ /HDUQLQJ+LVWRULFDO'DQFHVPXVLFDQGWH[WIURPWKH0HGLHYDODQG5HQDLVVDQFH&RXUWVRI(XURSH
‡ 'HYHORSLQJWKLV+LVWRULFDOPDWHULDOLQWRFRQWHPSRUDU\WKHDWULFDOSLHFH
‡ $SSURDFKWRGUDPDPRYHPHQWDQGSK\VLFDOWKHDWUHEDVHGRQWKHWHDFKLQJVRI5XGROI/DEDQ
‡ 'HYLVLQJ6RXQGDQG0XVLFIRUWKHDWUHDQGGDQFHSHUIRUPDQFH
‡ 7HFQLFDVGHFRPSRVLWLRQ\LPSURYLVDWLRQSRUWHDWURFRQWHPSRUDQHR
‡ &KRUHRJUDSK\'DQFH&RPSRVLWLRQ
‡ 7KLVZLOOFXOPLQate with all students participating in the public performance of the dance play Dance of Deadly Sins in Carmona. Illustrations from the E codex manuscript. of the Cantigas de Santa Maria (Songs to the Virgin Mary) (1221-­1284). Source: Wikimedia Commons
22
Proposed timet able:
DAY ONE Monday
DAY FOUR Thursday
10 -­12 INAUGURATIONS AND INTRODUCTIONS LECTURE DR DAVID SANCHEZ CANO The Origins and Historical context of The Dance of the Deadly Sins (Sevilla 1554 published version).
9-­10 class together
Introduction THE LABAN APPROACH TO DRAMATIC DANCE bringing the sins into human form.
2-­4 Lunch MUSIC WORKSHOP Rythmns of Early Dance selecting music for the project.
DAY FIVE Friday
2-­4 Lunch
4-­7 All students ORGULLO. La Spagna (Basse Dance XV c from Spain).
7 – 8 Welcome Party (During the following days options to divide into levels. Basic, Intermediate and Advanced)
DAY TWO Tuesday
9-­10 Class Together
10-­12 Basic /Intermediate IRA. Torneo Estampie Rea l (Danza Medieval from France)
12-­2 Basic/Intermediate Envidia GELOSIA ( Danza Italiana XV c Italy)
2-­4 Lunch
4-­8 Intermediate and Advanced options
DAY THREE Wednesday
9-­10 Class Together
10-­12 AVARICIA. Allamande (Danza de Conexión entre Baillarinas XV111)
12-­2 GULA (Danzas Campesinas from John Playford XV11c)
4-­8 Intermediate and Advanced options
10-­ 12 LUJURIA. Zarabanda (Danza Espanola XV1 c. from Spain)
12-­ 2 PEREZA. Pavan Espanola (Danza de Corte Renacimiento from Spain)
4-­8 Intermediate and Advanced options
9-­10 Class Together
10-­12 Revision (smaller groups options)
12-­2 All together in sequence
2.00 Lunch together
5.00 Visit Performance Sites
8.00 Begin Performance
Music classes for Instrumental musicians will run alongside the dance classes in separate classrooms. There will be options during the 4-­8 sessions to explore the dance and music relationship and to rehearse the QHZFRPSRVLWLRQIRUWKHFRPELQHG¾QDOH
Tu toRs
NONSUCH HISTORY AND DANCE COMPANY:
Course Director:
Darren Royston – RADA, National Theatre, Old Vic, LABAN, Laban Guild Penelope Boff:
Classical Dance , Natural Movement and Improvisation. & Nonsuch Dancers.
23
24