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

Compare and Contrast two choreographers works and choreographic process

Extracts from this document...

Introduction

Rosie Deane Compare and Contrast two choreographers works and choreographic process Jiri Kylian and William Forsythe's choreography can be seen to be strongly linked to their roots as performers. It can be seen through their vast amount of repertoire that their beginnings and background has a huge amount of influence on their creations as composers in dance. Jiri Kylian began his dance training when he was nine years of age at the ballet school of the Prague National theatre studying classical ballet, folk dance and the modern technique of Martha Graham this continued as he moved up into the Prague conservatory when reaching the age of fifteen. In 1967 at twenty years of age he joined the royal ballet school with a scholarship, here he studied not only classical ballet but also contemporary dance, which Kylian became very interested in. From this a major choreographer of this time John Cranko offered him a place in the Stuttgart ballet under a dancers contract but directed him into creating his own dance compositions, here Jiri could begin to develop his talent and ambitions as a choreographer. In his earliest years William Forsythe was especially interested in modern dance, rock and musical comedy. Forsythe like Kylian gained a scholarship, he proceeded to join the Joffery Ballet School and the school of American ballet. Whilst his training he was able to take additional classes with a vast amount of teachers allowing him experience different styles influencing his own style. He carried on with his training at the Joffrey Ballet II before he like Jiri Kylian was encouraged by John Cranko to join the Stuttgart Ballet in 1973. Here William Forsythe encountered Jiri Kylian and Pina Bausch and was supported to pursue his choreographic skills. Through seeing both Forsythe's and Jiri's backgrounds we can see in their works how there is distinct similarities and how their previous training has affected their choreography. ...read more.

Middle

It was the first time that every dancer of NDT I is individually involved in the creative process. This time there are no group scenes. And if there are any group dances, then they are done in an individual way. The piece has to do with individual expression, with individual freedom. So in a strange sort of way it has become a tribute to individuality and human rights. (Kylian 1998:www.NederlandsDansTheater.com) William Forsythe uses his company in the same way with the dancers not only being performers who merely dance the vocabulary given to them, but are involved within the creative process. "In Gange - ein Stuck uber Ballett, 1993, for example, not all the choreography comes from me. I gave eight combinations of steps. The dancer developed their own variations. The dancing in Gange is from them." (Spier www.Ballet-Frankfurt.com) Both Jiri Kylians and William Forsythe's companies work as an ensemble, and you can see they both speak of their method behind their work and regard for their company in a similar way, each member having their own strength to add. I have always wanted to facilitate dancing that shows the bodies own experience itself, and this is an idea in opposition to my desire, as a choreographer, to organise movement. Trying to have each dancer articulate, choreographically, what he or she knows about dancing has made some co-existence possible between the two apparently irreconcilable elements. (Spier www.Ballett-Frankfurt.com (R. Sulcas, 'in the news: the continuing evolution of Mr Forsythe', Dance Magazine, LXXI 1 (January 1997), p. 35.) Working from classically trained dancers Forsythe and his audience could see the difference in their performances, with their beautiful technique but with the freedom of the company allowing them to feel dance and become an individual on stage. Forsythe regards his Frankfurt dancers, Caspersen points out, as a 'choreographic ensemble'. They bring to the work an openness of thinking, and a readiness to respond to manifold improvisatory tasks, which generate movement. ...read more.

Conclusion

The movements were creating a vision for the idea of legs not being rooted in their new place and arms reaching out but not being quite grown yet. The movements communicated the idea quite literally in parts with limbs reaching but hitting boundaries and limits feeling lost in their new location. This area is where I see a difference in my research, studying review of both artists pieces I can see how in Kylian's reviews there is a stronger emphasis made on Kylian's subject than on Forsythe's where his form of dance seems more important. Both artists use their work to create a reaction from their audiences. In Jiri Kylian's Sarabande he incorporates the audience into his idea when choreographing. Kylian has conceived Sarabande - like a number of his later works - as 'a venture by means of choreography'. It is fundamentally related to No More Play, Falling Angels, and Sweet Dreams - as a black and white sketch to be completed and coloured in the mind of the observer. (Background Ballet information: www.NederlandsDansTheater.com) Forsythe also gets the audience to question themselves becoming engaged in the dance. As he pillages, he produces choreography that spills across the stage and out into the auditorium. It invites the audiences to experience something new, and to take this strange 'other' away with them and keep it tussling with it... it invites audiences used to seeing dancers defined by lighting to reconsider how theatre works. (Nugent 2001: 33) From my research I can see that both William Forsythe and Jiri Kylian are extremely similar choreographers, perhaps striking from their backgrounds. They both have stayed true to their love of classical training but broken free to develop it into their own style, both use improvisation and collaborating all areas of music, lighting and sound. I think one of their major differences comes from the fact that they use personal experiences to create their works, and as different people with different companies this makes them very individual. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our University Degree Fine Art, Design Studies, Art History, Crafts 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 University Degree Fine Art, Design Studies, Art History, Crafts essays

  1. Compare and contrast contemporary fashion with two past periods of fashion.

    And in 1924 the waistline dropped to the hip. Coco Chanel, 1924 In 1925 'shift' type dresses with no waistline emerged. At the end of the decade, dresses were being worn with straight bodices and collars. Tucks at the bottom of the bodices were popular, as well as knife-pleated skirts with s hem approximately one inch below the knee.

  2. Essay with Tutor's comments. I will compare two artists plates, outlining the key differences ...

    Both of these artists have used tone, colour and lighting in very different ways which evoked a different type of mood and atmosphere about the 2 twopaintings. [J38]C�zanne has used quite a narrow range of tonal colours [J39]?and within a limited pallet.

  1. VINCENT VAN GOGH - His Life And Works

    The pinnacle of his work in Holland was The Potato Eaters, a scene painted in April 1885 that shows the working day to be over. It is without doubt the most representative work from van Gogh's period of fervent social commitment.

  2. Fashion Technology; Anthropometrics - Traditional scanning VS. Body scanning

    However 3D body scanning is similarly not without challenges related to landmarking (Simmons & Istook, 2003). How each scanner establishes landmarks and takes the measurements should be established so that standardization of the data capture can be realized. Furthermore, some scanners such as used in this study require subjects to wear undergarments for scanning.

  1. How influential was Jan Van Eyck?

    The similarity in composition between Petrus Christus' 'Virgin and Child? and the ?Arnofini Marriage? is striking. In both, the figures are at the centre of the composition with a window to the right and a bed to the left. In terms of composition and the suggestive use of symbolism, Van Eyck's influence seems to be widespread.

  2. Feminist Art. Representation of Womens Bodies in Art , Rap and Film.

    In European art, women are frequently painted in the nude; they aren?t painted for art purposes but painted for the male gaze. This goes to reflect the woman?s submission to the ?owner of both woman and painting?, which we all know is the man.

  1. The use of Kabuki Elements in a Performance of Bertolt Brehts The Caucasian Chalk ...

    social situation.[4] The art of Kabuki lies in artifice, where it originated as an entertainment for the common people.[5] Wilson and Goldfarb highlight how Kabuki theatre is traditionally: 1. sung, chanted, danced and mimed; 2. more visual and sensual than literary or intellectual; 3.

  2. Commentary on the Arnolfini Wedding by Jan Van Eyck, 1434

    Caravaggio used light and dark lighting effects called chiaroscuro in this painting. Also, the warm golden brown tones of the skin and the background mixed with soft light and accompanied by the exchange of whites, greens, reds and browns of the garments emphasize the balance to further soothe the audience.

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