(upbeat eerie music)
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(orchestral music)
(voices whispering)
♪ GTFOR ♪
(voices whispering)
- Just before we go from the top, tell me why the see-saw?
- I don't know.
'Cause I kinda like the idea of doing stuff that is,
is not flat on the ground, that it just makes...
Something that makes an ordinary movement extraordinary,
that it just puts people in a different situation.
So anything gets heightened
because there is an element of danger,
which means that the body reacts differently to it.
So it's just not a decorative prop.
It's just it also gives a sense of space.
You kinda know where you are
and then you don't know where you are,
which means that it could be anything.
It's evocative of something.
(eerie music)
♪ The day Contrapposto ♪
♪ The city Contrapposto ♪
♪ It exists even as it disappears ♪
(eerie music continues)
♪ Oh yes, I agree ♪
♪ No brain child ♪
♪ No overtures ♪
- Did you still have another one?
So they come in together, the three hold hands
and then there is the extension, come in, come in
and keep that, keep that hand there.
(celestial music)
So you taking the hand away
means that you're already in space.
They do the wah, wah, wah,
go around and ready for the yada.
♪ Yada, yada, yada, yada ♪
- [Michael] Scott Walker has made a really eccentric
piece of music.
How are you finding it?
- Well, if you really use it like if it's a film,
it almost makes sense.
So it's almost like I'm treating it,
I don't know dramaturgically what the fuck is going on,
except that for some reason it's making them
react dramatically.
- [Choreographer] Use it on three.
♪ Yada, yada, yada, yada ♪
(eerie music)
♪ Yada, yada, yada, yada ♪
- Don't go anywhere, stay there.
So what I mean is stay on that one until this new motif.
- [Michael] It seems like you're not trying to tell
a specific story.
- But there is enough drama in the music
for encounters to happen that are not necessarily
relevant or explainable.
There is just, it's just the music seems to bring
some kind of tension in a good way,
so they don't have to put anything on top of it.
It's already given to them as part of the script.
- [Choreographer] Four moves and... (clicking fingers)
♪ Yada, yada, yada, yada ♪
- Also I push them at that very early stages
to be very naturalistic.
(celestial music)
Okay, good.
So you're gonna get, "For all it matters."
♪ Ati-dah-dah-dah, api-dah-dah-dah, ati-dah-dah-dah ♪
I'm
almost casual about the approach to it.
And there really was a sense of a fourth wall,
and this what it has done is that this has turned it
and I'm not fighting against the fact
that it's way more dramatic and presentational,
and it makes them bigger than life, I think.
So it helps.
(eerie music)
♪ The worst case scenario ♪
♪ Of the currency never returning to the country of origin ♪
♪ Is actually the best possible outcome ♪
♪ Ah, of course, I get it ♪
♪ It will be the same result as if the exporting country ♪
♪ Burned the dollars it earned ♪
♪ Never returning it to market circulation ♪
(upbeat music)
♪ Okay Cara ♪
- I like it, though.
It's (indistinct). - Yeah, I like it too.
I think it goes on for too long.
So I think that once you get two bodies going out
you just go, "Okay, so I know
"what's gonna happen next and..."
(frogs croaking) (celestial music)
Yeah, do whatever you need to do there, good.
Who goes? Do you go next?
What's yours?
Do you have an upright version?
How do you begin?
And show me.
(celestial music)
This is a process that is meant to be called
Fourteen Days, a chronological thing.
Take your time there.
Take your time.
Or is it an absolute crazy cocktail of ideas?
Because the 14 days are 14 full days for the creator,
for the choreographer,
but it's not 14 full days for the people that need to digest
what I'm gonna bring in.
So I live with that for 14 days.
Don't take, don't, don't, don't.
Yeah, just leave it there.
It's passing through a very distinctive blender.
Okay, let's have lunch.
(celestial music intensifies)
♪ Whacked, I've been zapped, freed out for the future ♪
♪ Dumb-sized, naturalized, freed out for the future ♪
(crickets chirping)
♪ The crew got the boot, freed out for the future ♪
♪ Pink slipped, I've been stripped ♪
♪ I am freed out for the future ♪
(crickets chirping)
(celestial music) (frogs croaking)
♪ The day Contrapposto ♪
♪ The city Contrapposto ♪
- In a way that's where it came from
this whole choreography, whether are we human
or in what way are we still animals?
And why shouldn't we be animals anymore?
Or what makes us so special being humans?
I think it's an interesting question.
Now we're trying to apply that to the body.
How can the body also be in conflict?
And
yeah. (upbeat music)
(gentle music)
We've been for a whole week
exploring different kinds of animals.
What it is this animal, human, what do we share?
What can we understand from them?
Yeah, careful here.
And we developed what bears a lot of contact.
We had reptiles.
We had horses.
The horses has been the one more interesting.
Somehow it makes a lot of sense
with the BalletBoyz as well, I think.
We're gonna make a script.
So in the next four days, we're gonna go through
all the possibilities of these variations,
what we have so far.
And I'm gonna leave you with that schedule, yeah?
Let's eat fish, that was a good thing from Mark,
so our brains can function properly
and we can memorize this idea.
But also what we were saying before,
let's focus on the qualities, yeah?
And then eventually interpretation will come in.
What is this choreography?
Yeah, we talked about that idea also the other day.
I think that's interesting.
And let's go.
You're okay with it? Yeah?
Good, good, okay.
And there we go, oh my God (laughing).
- [Michael] Is that like breaking bad news to them?
- Yeah, we have good news and bad news.
Good news is that we know what the piece is gonna be like.
And we have bad news, which is
we chose the most challenging option,
but that's creative process.
And I think we can get somewhere interesting, refreshing.
We'll see.
I'm gonna need the help of everybody (laughing),
but we'll make it, we'll make it.
Thanks. - Thank you.
(upbeat music)
(gentle music)
(upbeat music continues)
- Okay, fine, fine, let's stop there, let's stop there.
Beautiful, beautiful, beautiful.
Very good, very good. - Yeah.
- Yeah so this is the approach.
- I think we just have to keep going back.
- So many of those in-betweens or the tensions, the pulls.
So they're really focused- (Michael speaks indistinctly)
subtleties, nuances, but also that they have their focuses
in each moment in its work in its detail.
So it's not thinking, "Oh my God, this is heavy.
"Oh my God, this is long."
No, to keep digging into that detail.
Let's see how they're doing.
Yeah, let's try one more time.
(celestial music)
Okay, stop.
I feel like we're not really falling on the music.
It feels like we're a little bit late or which can...
Because it kind of goes one, two, boom, boom, boom, boom.
Each step could be falling on that note, right?
Can we try to anticipate
and really follow the weight of those-
- Yeah, you're just slightly late.
- Yeah, let's see if we can hear a bit more
that very even.
(upbeat celestial music)
(upbeat music intensifies)
Shall we stop?
Good, good, good guys.
Nice, much better.
Yeah, these dynamics really work.
This is almost like a little bit like an stampede.
This is the moment where you go towards us.
Yeah, so this idea of now you go towards us.
Yeah, so we want to be almost
slightly intimidated by you now.
Yes, exactly.
So this idea of focus, of tunnel vision.
Yeah, let's see if we can bring that as well.
Like this whole thing is really forward.
Yeah, let's try with that quality.
Can we try with music?
(upbeat music)
(upbeat music slowly fading)
One, two, three, four, five.
One, two, three, four.
One, two, three, four, five.
Like that? - Yeah.
- And equals
one, two, three. - Two, three.
One, two, three, brush, brush.
- Okay, one, two, three.
- Brush times two.
- Brush two.
- [Choreographer] Yeah.
- Yeah and then one full round.
One, two, three, four, five.
Turn, one, two, two, ha.
One, two, three, ha.
One, two, three, four, five.
One, two, three, four, five, ha.
So I don't know why I'm counting on fives.
(BalletBoyz laughing)
But, ah, because we have one, two, three, four, five.
Okay, but because...
Okay.
- [Choreographer] One, two, three, four.
One, two, three, four, five.
One, two, down- - One, two,
three, four, five. - three, four, five, one.
One, two, three, four. - Five.
One, two, three, four. - One, two, three, four.
One, two, three, four.
- [Ivan] But this can work, this can really work.
Yeah, this can really work.
Okay, nice.
- [Choreographer] That's it.
This is nice 'cause it takes them in the air.
Yeah, how did you do them, three?
- Good guys, good guys.
They're gonna die.
- They are. - Yeah.
- [Choreographer] A bit of massage on the legs tomorrow,
I think. (upbeat music)
(gentle music)
- The music, the beginning of the music
is impossible to count, so I'm not even gonna try.
We'll just let it happen.
And then about, I'd say about two minutes in
it starts to pick up a rhythm
and then it's just pretty much straight eighths through.
So, but the first two minutes I've been,
I spent like two flights going trying to find the one.
Just couldn't find it, so I think,
I figure it's better we just do something and then...
So whatever, however we get there, let's start with
Bradley facing front
and
let's have you just, yeah, side on should be fine.
We'll be done by 1:30.
- [Man] Huh?
- I said we'll be finished by 1:30 (laughing).
Maybe just come downstairs a little bit,
just downstage a little bit, that's good, yeah.
Actually, you wanna be shoulder, shoulder to shoulder.
That's good.
Let's just have...
Bradley, let's just have you just reach across
and Jordan, can you,
can you just,
just pull this arm back
and just touch fingertip to fingertip?
And when you touch fingertip to fingertip
is there any way...
It's gonna be hard I think across the body.
Is there any way for that connection
to just to kind of send a ripple out through your bodies?
Yeah. Yeah.
Try again.
And then just come back to where you were.
Oh, I'm gonna enjoy this.
- Good. - I'm gonna like this.
(Jordan and Bradley laughing)
It's gonna be good. - Good.
- One more time.
(celestial music)
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,
only the music and these guys,
and yeah, just sort of started to
play with some shapes, some ideas.
I have a little bit of a
narrative going on in the back of my head,
but I'm not really being very explicit about
how that's gonna unfold at this point.
And is there any way...
Can we actually both come around almost to really slowly
let Bradley sit back on his hip?
Really slow, really slow.
That's nice.
All the... Oh, yeah.
Straight upright first.
Now the hands go.
I kind of have an idea of the sort of
through flow of the movement.
Maybe the kind of energy and the kind of rhythm
that I'm trying to create with them physically.
Lovely, that's it?
Yeah. Yeah.
But a lot of it's kind of I give them an idea,
they take it, they roll through it
and fall into something else,
and I'm like, "Well, that's good."
So then I connect that with another idea.
It's a little bit like a jigsaw really
to kind of piecing each piece.
So making the shape, cutting out the shape of the jigsaw
and then finding the next shape for it to slot into.
(gentle music)
(gentle music intensifies)
That's it, keep turning that's good.
And then so actually come up,
come up out of it at the end, Bradley, and then pull him up.
If you can end up, if you can finish facing,
so Bradley you're facing this way
and Jordan you're facing this way, then I'll be happy.
I mean, it's quite rare for me to get to work with dancers
who have an understanding of
a more kind of contemporary flow in their movement
and how to use the floor, how to use each other's weight,
how to use each other's balance to create weightlessness,
to create elegant sort of sculptural shape.
Actually, can you give him a little bit of a lift there
with that side?
So it's different for me and I love that.
I love the challenge of working in a different way.
And then stay connected with them if you can and pull him up
and then just slide that foot in
so that you're boom that way.
Yeah. Good.
(gentle orchestral music)
Close.
There's a nice change of...
It's funny, now that I'm listening to it
and seeing it with movement, it feels far more dynamic
than it did when I was just sitting at home.
Just from listening to the music
I kind of have an idea of the sort of...
Because it sort of feels like it's a piece in two parts.
The first part's quite fluid, it's quite hard to find the...
Usually, I'll count out
and create a sort of structure of counts.
And the first two minutes of this piece feel
almost improvised, but as I'm choreographing,
it happens a lot with me, as I'm choreographing it,
I'm understanding more clearly the shape of those phrases.
That's it. Nice.
(gentle piano music)
See if you can get that elbow really drop.
So can you come around any further?
(all laughing)
Let's look at it from the full back that way first.
If you could just kind of come up.
It's very tender this music,
and then it kinda starts to build, and as it builds,
I imagine the choreography will kind of go with that.
So I'm trying to sort of at this stage
keep it kind of subtle in its suggestion
of any kind of defined story
and then see kind of where we get to by the end.
That's better.
So there's a bit of space.
That's nice.
I think in my head I had sort of pegged it as a sort of
potentially like an expression of
two men in a relationship
without making it sort of overtly sexual or...
But maybe it's not a loving relationship
or maybe it's a loving friendship.
I don't know yet. We'll see.
(gentle orchestral music)
- Okay, five, six, seven.
And one, two, three, four, five, six, seven, eight.
One, two, three, four, five, six, seven, eight.
One, two, three.
Okay, these ones are even.
Also, there're some discrepancies on the timing
on the one, two, three, four, five is grabbing the earth.
Six is letting it go down as you do the turn
while you're mining.
They're miners, by the way, miners.
My great-grandparents and everyone came from Ballarat,
and of course they were gold miners.
So I'm doing a piece sort of based on a rebellion
of the Eureka Stockade, which was a small,
but wild and violent battle.
I thought it might be a really good idea
to introduce the BalletBoyz to that
and try and tell a bit of that story.
So after you've done seven counts
and then you've done your hit on one,
go immediately into it,
and let's just see where we go from there,
because I would love it to complete the line,
so we build this barricade up.
A fence holding back soldiers
is what you should be thinking.
One, two, three, four, lift, six, seven, eight.
One, two, three, four, five, six, seven, eight.
One, two, three, four, five, six, seven, eight, one.
Okay, here they are, the BalletBoyz.
From the top, please.
Okay.
(upbeat music)
(upbeat music intensifies)
(upbeat undulating music) (dancer clogging)
Good. Stop there.
Let's go back.
Well done, gentlemen.
The timing is getting better, isn't it?
Let's do it from your entrance, gentlemen.
I'll give you a whole six in.
One, two, three, four, five and six.
(dancers clogging synchronously)
Two, three, four, and a one.
(upbeat undulating music)
(BalletBoyz shouting)
One, two, three and a four, and a five, and a six.
Well, the movement is developed through what you would do
if you were gold panning in the 1850s really.
And of course, my second time great-grandfather,
great-great-grandfather was a clog dancer,
a champion clog dancer of 1871.
Okay, good.
Good, let's go round in circle.
So I've decided to get myself a pair of clogs, darling.
(choreographer chuckles)
A pair of clogs.
And we had the clogs made for all the BalletBoyz
to try and do stuff in, and here they are.
Seven, eight.
Okay, good, let's start that again with the vocals as well.
Five, six, seven,
and one, two, three, four (BalletBoyz shouting)
five, six, seven, eight.
One, two, three, four, five, six.
And they were also charged taxes,
so of course everybody clubbed together in their thousands.
I mean, there was a meeting in Ballarat of 10,000 men.
And of course this was the battle of Eureka Stockade
that we're trying to recreate
which does unfortunately end in
27 miners just being killed liberally within 10 minutes.
(BalletBoyz clogging)
(upbeat music)
- [Choreographer] From the beginning of it.
- Yeah.
So this is in the silence and you try and land for blum
and nothing, nothing,
♪ Da-da, da-dum ♪
coming to center.
So do right, so start with your right foot
and just do a basic step, side,
close, back, side,
close, step, side,
close, back.
It should be sort of a Danse Macabre.
Yeah? - Yeah.
- Do you wanna try it with his body?
(upbeat music)
(orchestral music)
(upbeat music)
Very good.
Excellent work.
Thank you, gentleman.
- Thank you. - Thank you all.
- Whoo! (BalletBoyz clapping)
- [Christopher] See you in September.