The editing must match the rapid tempo of the movement to recreate the experience of Lecavalier’s dancing. It was considered as a striking piece of popular culture as it exposed the crisis of masculinity expectations through movement, sound and design. What sort of knowing is this? There is also the notion throughout the piece about rules. Ann Cooper Albright argues in Choreographing Difference that Lecavalier’s “vaulting back and forth across the stage creates an intense physicality that both literally and figuratively crosses over [emphasis hers] gender norms. We, as audience, leave the position of spectator entering into an unclear position of participant and observer. Contact us to send us auditions, information for the shout board, tips or just to get in touch.

The revolving bed continues a circular rhythm that permeates the choreography and emulates the larger circular narrative at play in Le Dortoir. Breaking away from the now more traditional Foucauldian reading of the camera as a tool for surveillance I draw upon Walter Benjamin’s conception of dialectical images to envision the camera as an instigator and participant in the kinetic fulfillment of the choreographic design of Newson, Maheu and Lock. What sort of vision? As the dancers of DV8 build their kinetic vocabularies in rehearsal and on stage, it is through their touch – often violent and forceful, which constructs the narrative of Dead Dreams. Dead Dreams begins in the backroom of a gay disco. You are commenting using your WordPress. Posted by Rebecca Heath at

The opening scene starts the dramatic tension that Carbone 14 sustains for the length of the piece. They tend to use brutal looking, violent or provocative movements and they will try to avoid pointed feet, complex steps, high extensions, graceful arms, difficult jumps and so on.

Physical Theatre essay CDS and DV8

They mainly focus on themes of questioning social, political views and sometimes taboo subjects in order to make their work have a bigger impact on their audiences. This piece was so successful nationally and internationally that it was made into a film and it won 7 awards which were: He is currently curator for the Chicago based dance film and video festival CineDance The company believe that to reveal human emotion they often had to use very extreme movements.


Rambert Dance Company opened a brand new and very expensive dance building that was supposed to help independent dance artists, is it any surpise that it’s not? DV8 create their work by having huge amount of contemporary dance and contact improvisation, they use all kinds of shapes and movement of there bodies which can be a mixture of quick and sharp or slow and flowing movements along with gestures, exaggerated movements, expression and contract and release, they also use the 5 elements of dance in each performance.

Lecavalier’s dancing redefined physical theatre in the 80s. So my big concern is to try and present images through movement and to talk about the whole range of social and psychological situations. DV8 offer workshops, mock audition and masterclasses on request, and pre-show discussions on request. In some cases, these bodies remain fixed by the two-dimensional format of video or film projections.

The set’s bare walls and imperceptible ceilings frame the action. In Dead Dreams of Monochrome Men and Le Dortoir, the camera offers views of the dance from a variety of positions unavailable to an audience during the live performance.

Is the audience under scrutiny? Our experience is literally dizzying. From just outside on the edge of cv8 frame a bodies hurls itself into our visual and visceral path focus catching our attention and another dancer in his grasp.

dv8 physical theatre essay

In his questioning of the visual dominance or ocularcentrism in Euroamerican culture Taussig proposes that touch aided by vision is more used and useful in navigating architectural and social space than vision alone. It is my attempt only to expose moments of collusion and empathy.

Physical Theatre: Essay

I felt that this was meant to imply that men are like animals in the way the treat each other and those men naturally copy each other in order to fit in. For example when the first man entered the bar he went over to the karaoke machine and he thearte to sing a slow and emotional ballad.


dv8 physical theatre essay

Her extreme physique has prompted considerable discussion concerning her gender identification. If a microphone is used or after the footage is edited a third sense enters into the mix, the sense of sound.

This means that they always try to make thearre work different and stand out. DV8 Physical Theatre Tags: The camera follows the momentum as the dancers hit the floor only to rebound instantaneously into another directed fall and twist.

Meticulously choreographed while leaving room for a personal identity of the individual dancers, the look and work of the company allows for a diverse physicality in performers. The four performers dress in identical blue pants and shirts that provide little indication of class, time or ethnicity.

At first the camera keeps its distance I speak as if only one camera is present, but obviously we have many angles with many possible relationships. Now, just at a point when others are catching up, Newson reinvents the rules” Lyn Gardner, The Guardian. Wraparound work DV8 offer workshops, mock audition and masterclasses on request, and pre-show discussions on request.

DV8 Physical Theatre

Notify me of new comments via email. In doing this, the camera performs a double role, one as an extension of the spectators visual sense and, secondly, as an apparatus that engages their tactile sense. Cook will be a visiting assistant professor in Comparative Arts at Ohio University for the academic year. Our gaze dissolves into contact and activity. These, rather than financial, organisational and touring demands, dictate the creation of new works.

We, as audience, leave the position of spectator entering into an unclear position of participant and observer.

dv8 physical theatre essay

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