• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Matthew Christopher Bourne

Extracts from this document...

Introduction

Matthew Christopher Bourne Born 13th. January, 1960, London. British dancer and choreographer. His parents were June and Jim Bourne and he had a brother Dan. His mother was a secretary and his father worked for Thames Water for 30 years. When 12 or 13 he and his friend Simon Carter waited to get the autographs of actors outside the Apollo, Lyric, Palace, or Queens theatres. He attended a Methodist-run youth club which had a choir and he put on his versions of musicals. He went to school at the Sir George Monoux mixed comprehensive (later a sixth-form college) in Walthamstow in north-east London. He left with two grade C A levels. He didn't admit to himself that he was gay until he was 18. He then rang the telephone number for Gay Switchboard which was printed on the sleeve of Tom Robinson's single Glad To Be Gay and he was directed to a gay youthclub in Holloway. He first took a job in the contracts department at the BBC. He next had a job with the Keith Prowse ticket agency. This was followed by a job in the Royal National Theatre bookshop. He also worked as an usher and became aware that among the other theatre devotees were dance and drama students. ...read more.

Middle

There's also a strong whiff of Tennessee Williams' earlier play, Orpheus Descending. Set in a small mid-West town called Harmony in the mid-1960s, the focus is on sexual obsession. Bourne catches the feel of a small town exploding with raging hormones and no distractions. The mechanics at Dino's Garage and the waitresses at Dino's Caf´┐Ż express themselves by hip-pumping and hip-twitching respectively. The boys' alternative sport is tormenting more sensitive souls. Into this charged atmosphere strolls Luca, a drifter. Employed by Dino at his garage, Luca is a dancing phallus. He not only seduces Dino's wife, Lana, but also has a one-night stand with Angelo, the gentle boyfriend of Lana's sister Rita, who is the butt of merciless hazing by the town studs until Luca rescues him. The hitherto repressed homosexuality of Luca and Angelo and Dino's jealousy of his wife's fascination with Luca build through a climate of romantic obsession to violence, murder, betrayal and tragedy. The choreography is uneven. The lifts are stunning but the mechanics' repetitive hip-pumping gets tiresome. The first encounter between Luca and Lana, though both are fully clothed and dancing, is more daring and erotic than anything on The Playboy Channel and the corps de ballet echoes them in a primordial pattern. ...read more.

Conclusion

A particular gift of this production is that you care about the people. Matthew Bourne has been the Artistic Director and Choreographer of Adventures in Motion Pictures for over ten years. His dance training began in his early twenties, and his love for theater and cinema has led him to be dubbed "the Noel Coward of modern dance." Born in London on January 13, 1960, Mr. Bourne graduated from the Laban Centre in 1985 with a degree in Dance/Theater, spending a further year touring with Transitions Dance Company. He was a founding member of AMP at its launch in July 1987, and his stage works for the company include "Overlap Lovers" (1987), "Spitfire" (1988), "Buck and Wing" (1988), "The Infernal Gallop" (1989), "Town & Country" (1991), "The Nutcracker" (1992), "Highland Fling" (1994), "Swan Lake" (1996) and "Cinderella" (1997). His television work for AMP includes "Late Flowering Lust" (BBC TV 1993) and "Drip - A Love Story" (BBC TV/Arts Council Dance for the Camera Award 1993), both broadcast in 1994. As well as creating many roles in his own work, he has also worked with choreographers Ashley Page, Jacob Marley, and Brigitte Farges, and was a founding member, in 1988, of Lea Anderson's company The Featherstonehaughs. Mr. Bourne has won several awards for his choreography, including a Bonnie Bird award, a Place Portfolio commission, and a Barclays New Stages award. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Theatre Studies section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Theatre Studies essays

  1. Tension Portfolio - the seven levels of tension.

    I then collapse because I am that tense. Analysing Individual Performance I started at catatonic. The way I changed level to Californian is I did what I do when I get out of bed. I think that is the perfect example. As I was in Californian I started to try to put a little tension in my legs and arms.

  2. Performing arts skills

    coursework, but also with time which is crucial for creating a polished and professional performance. I know that organising my paperwork should not be too difficult I just need to stop leaving it around and keep all notes no matter how useless I think they are at the time.

  1. AS Theatre Studies Portfolio

    To keep drive I kept the character all the way through, though sometimes it was as a teacher or a parent, but I tried to keep these qualities to give me grounding and base as an actor. However were came to the conclusion after some more development that having a

  2. Brecht Portfolio

    To prevent the spectators from becoming too involved with the characters we have agreed on multi-roles. Actors playing more than one role should make the spectators accept them as actors playing roles, not as characters. It eliminates any emotional attachments.

  1. theatre Studies portfolio

    As Sophie is a very shy and essentially low- status character, using very enclosed body language will portray Sophie well to the audience. Our research helped me in a number of things. It has showed me how to portray my role in the play as realistically as possible.

  2. Brief Encounter expectations

    an appearance of a small toy train in which Alec hopped on the back of in his first departure from Laura. However, the overall uses of switching between live action and film footage/projections defiantly works, as it was unexpected and a nice touch.

  1. Drama and Theatre Studies structured records

    Considering the ensemble approach to devising we wanted each member to experience directing each scene, this also allowed us to incorporate more than one member's objective for a particular scene. Therefore, we often resorted to switching roles mid scene to appreciate the way each member would perform certain characters and situations.

  2. job opportunities in performing arts

    spotting new talent * Commumication skills * To be able to work under pressure * To be persuasive and good at negotiating * Enjoy working with people * Understant the audience * Organisational skills * Computer literate. It is important to: * be interested in the media and marketing * be interested in music and popular culture.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work