Friday, 17 July 2015
Thursday, 16 July 2015
How Has DV8 Evolved
How Has DV8 Evolved Compared To Their Most Successful Piece 'Dead Dreams..."
Lloyd Newson has revolutionised the way dance can be perceived by an audience, by experimenting with taboo, and controversial topics such as Homosexuality, Islam ,Sharia Law, and the perceptions of Love and Physicality. In total Newson has created 18 renowned pieces. In this essay I am going to evaluate and analyse where ‘Dead Dreams of Monochrome Men (1988)’ falls in relation to his other pieces regarding Technology, Current Affairs, Politics, Economically, and in reference to common Social Stereotypes. Chronologically - Dead Dreams of Monochrome Men, Strange Fish(1992), Enter Achilles(1995), and The Cost Of Living(2003).
DV8’s mission statement insists on the importance of challenging our preconceptions of what dance can, and should address, DV8 is all about taking risks, aesthetically and physically, about breaking down the barriers between dance and theatre and, above all, communicating ideas and feelings clearly and unpretentiously. “As is usual with DV8, the thematic idea is explored in movement of extraordinary invention, breathtaking risks involving split-second,astonishing strength and stamina” - London Evening Standard.
SOCIAL
Dead Dreams of Monochrome Men was the second piece in Lloyd Newson’s reel of work, and focuses on Homophobia and Necrophilia. With only a 4 man cast
‘Dead Dreams…’ was made in the late 80’s/early 90’s, making it was extremely hard, and to find dancers to play these intricate roles strictly because of the controversy surrounding open homosexuality. Homosexuality was a criminal offence in the UK until 1967; before this date homosexuals could be imprisoned, gay males had to risk various punishments from society for their behaviour which was not condoned by the establishment, because of this, many homosexuals experienced conflict: either to not follow their natural sexual desires and live a lie, or follow them and risk exposure as a criminal and perhaps even prison.This forced homosexuals into a world of guilt and secrecy which is still resounding within homosexual culture today.
This is evident in ‘Dead Dreams…’ as we see the 4 male dancers confined within concrete walls emphasising the themes of Loneliness,Desire, and Trust. During the performance two men partake in an intimate sequence of reaching out and holding each other and finally rejecting each other, while the action is taking place another male dancer observes them, highlighting that “the man” is always watching both men. Newso did not feel the need to try and hide or tone down the homosexuality in his work. Newson was not afraid to use real male bodies, show you the real skin on skin contact and let you know that homosexuality is what you were being witness to.
The use of camera in Dead Dreams of Monochrome Men brings the audience face to face with the ‘gay’ relationships between dancers. Throughout the piece the camera zooms in on close-ups of skin to skin contact. For example a duet in the second piece “blind” shows us a moment where two dancers are stood one in front of the other.
STRANGE FISH
In contrast, ‘Strange Fish’, his third piece, moved away from such intensity that was shown in ‘Dead Dreams…’ by showing a lot more humour and entertainment to convey a different type of message. This piece looks at our hunger for someone to love and something, or someone, to believe in. The relationship of couples and groups, and the pain of not belonging and the fear of being alone. Strange Fish mixes humour, religious iconography and physicality, taking it beyond the boundaries of traditional dance.
Unlike ‘Dead Dreams…’ the humour in ‘Strange Fish’ is used as a platform for the dancers to address emotional and personal issues of loneliness, self esteem, dependency, confidence, all whilst experiencing the trials and tribulations of falling in love. Contrasting to ‘Dead Dreams…’ there is a clear stand-out character called Nigel, who is an over eager loner who disrupts a party with his machine gun speech, from the audiences perspective this emphasises his lack of charm and charisma, and is shown by Newson’s clever presentation which allows everyone to respond to the narrative. Nigel’s heart-felt and painful self consciousness is huge reminder of the cute awkwardness we as an audience have, at some point, have all experienced. Following on from the speech he then tries to interrupt pairs of lovers, through quick, and static movements, his interruptions, although desperate, panicked and awkward, are at the same time elegant and intricate, but the couples are seemingly drawn back together by a powerful magnetic-like force.
ENTER ACHILLIES
In Enter Achilles this piece shows insecurity, masculinity and gender stereotypes. At first in ‘Enter Achilles’ a blow up doll is used to represent a woman which is later abused and raped, a shocking yet truthful way to challenge the audience.
Masculine movement and stereotypes are used to emphasise the testosterone filled atmosphere, this is so when other types of emotions/movement are shown it is even more shocking for the audience as they would be considered non-masculine or ‘gay’. For example when one man screams into the glass – this highlights the reliabilty and the comfort men find in alcohol – an issue in society that is very common but not usually addressed publically or between friends.
The rape in Enter Achilles also symbolised support between men and trust, which is again often stereotyped as being ‘gay’ or feminine. However this juxtaposes the physicality the man shows, as he has a lot of strength. In Dead Dreams of Monochrome Men hanging bodies represent that of mass murderer Dennis Nelson, an issue Newson feels is unjust which also.
On the other hand in ‘Enter Achilies’ the male cast is not as sexually explicit reguarding movement as in ‘Dead Dreams…’ but the rape of the doll in ‘Enter Achilles’ still also symbolises the relationship between men and trust, which is again often stereotyped as being ‘gay’ or very feminist. However this still juxtaposes the physicality the man as he has a lot of strength and the power behind his movement. In ‘Dead Dreams…’ the hanging bodies represent that of mass murderer Dennis Nelson, an issue Newson feels is also unjust. These 2 contrasting pieces regarding movement have similarities with themes and sub-themws within the narratives which still manages to present the differences between their messages yet them both being centered around male behaviour,sexuality, and insecurity. This shows that as time has progressed DV8 have moved onto different style of controversey and more intricute ways of choreography to stimulate an audience.
THE COST OF LIVING
The Cost of LIving was devised by Newson and the dancers, who range from “extremely able-bodied to a man with no legs. A key performer is David Toole, born without legs, Toole creates an incredible performance that really challenges our perceptions about ability and adds to the film’s critique of society’s obsession with image.” The Cost of Living is all about the groups of people who don’t neccessarily fulfill the market value in society, the title is in fact a play on words ‘the cost of living in terms’ of the financial issues and looking at what happens through the eyes of oters as we live in today.
Compared to ‘Dead Dreams…’ this piece is more visually and physcially interesting, and uses a popular music accompaniment, called "Lucky, Lucky, Lucky Me" which is also very ironic in relation to the narrative of the piece. David Toole really pushes the bounderies of the stereotypes of disability and we see this in duets, or as an extraordinarily mobile trunk supported by his strong arms, Toole is both tragic and fiercely comic, seeming to grow from the torso of another dancer, or inspiring vivid dance sequences that are explored by other men in the cast. This piece is more dancefull compared to ‘Dead Dreams…’ , but somehow manages to reflect some scenes as the audience see a night scene in which men stalk each other in a park has the same knife-edge tension and erotic danger as the encounters in “Dead Dreams…”
POLITICAL/ECONOMICAL
Dead Dreams of Monochrome Men was made in 1988, in Thatcherite Britain, at a time of racial tension, distrust of police and deprivation. Gay men especially were under considerable public pressure due to the increased awareness of AIDS, hostile and the biased press coverage regarding AIDS. Therefore “Dead Dreams…” created loads of controversery. ‘Dead Dreams…’ was commissioned by Third Eye Centre, Glasgow due to DV8’s relationship with The Festival Unit, European City of Culture, Glasgow District Council. They were also funded by the Arts Council of Great Britain and Greater London Arts, and the beneficiary of a 1988 Digital Dance Award.
As the years progress and times change the world evolves day by day from art to technology in the hope to make society a better place. From 1988 when (‘Dead Dreams…’) when the first digital cellular phones were invented to 1995 (‘Enter Achillies’) when DVD’s were first created. Through the process of evolution many factors are influenced such as the economy,technology, and politics which have all had a direct influence on Lloyd Newsons work.
STRANGE FISH
Strange Fish was made in 1992 Commissioned by EXPO 92 (Seville), Britain at EXPO, in co-production with the National Arts Centre. In the United Kingdom general election of 1992 was held in April of that year, and was the fourth consecutive victory for the Conservative Party, following the resignation of Margaret Thatcher in 1990. At this time in society Thatcherism was over in Britain.
In times of creative depression, it was essential that artists such as Lloyd Newson continued to provoke, shock and push society to use ther imaginations. When it was originally reviewed, critics were in awe of the boundaries that were broken by the DV8 performers, who took ‘astounding and humbling risks’ according to Judith Mackrell in 1992. Artistic risks are a rare achievement in the Noughties, and as Strange Fish made waves in the performing arts world nearly two decades ago.
In 1992 ‘Strange Fish’ times had moved on but DV8 still had a lot to live up to after the success and controversey of ‘Dead Dreams…’ which Newson’s ‘Strange Fish’ did exactly but by going down the routes of religion unlike ‘Dead Dreams..’ which was very uncommon at a predominantly Catholic Britain. Data shows that only 14.4% of the UK population belonged to a Christian denomination. The vast majority of Christian church members were affiliated with the Roman Catholic Church, the Church of England.
ENTER ACHILLIES
Newson’s work Enter Achilles was created to explore typical maleness. At this time DV8 had substantially more money because they had the most job roles compared to ‘Dead Dreams…’ such as: set designer, composer, lighting, costume design, design assistant, production manager, stage, sound, lights production elecetrician, set construction, additional engineering, tour manager, general manager, uk publicity, publicity assistants, uk graphic design, and photographer.
Compared to ‘Dead Dreams..’ this piece also had more contributors and sponsors, as it was also co-produced by Wiener Festwochen and the Royal Festival Hall with Dance Umbrella, with a contribution from Bayerische Staatsoper/Labor, Bayerische Staatsschauspiel/Marstall, and the British Council who helped commission the original and revived tour. Highlighting that as time progresses the econmoical side of dance is growing as more companies are getting involved with DV8 and Lloyd Newson brings in more money to keep producing taboo and thought-provoking pieces and this is shown though the production from the elobarate design of set to the graphic designs.
COST OF LIVING
Living Costs was commissioned by the Tate as part of the Tate and Egg Live season of performances (sponsored by online bank Egg). Coinciding with the performances were screenings of excellent film versions of some of DV8’s best works – Dead Dreams, Strange Fish and Enter Achilles – and a creative workshop programme for artists and dancers. The fact that film versions of Lloyd Newsonswork have been re-created and screened live by the Tate, one of the most well known museums in England. But DV8 have created workshops to involve more dancers and artists which comes a long way from ‘Dead Dreams…’ when it was a struggle, to find confident and talented male dancers to play homosexual characters in a time of misjudgement and homophobia.
Physically as an audience if you watch DV8 piees chronologically you can see the evolution accompanied with the company over the years, even from a 4-man cast to a full cast, extras and screenings in the ‘Cost of Living’, and ‘Dead Dreams…’ was the start of a postive future for DV8 after triumphing overall out of all the taboo,controversial,positive/negative reviews and opinions from 1988.
TECHNOLOGY
In ‘Dead Dreams…’ Lloyd Newson uses a derelict street setting of concrete walls to represent the isolation and loneliness homosexual men face, creating the feelings of entrapment and prison for the audience. The lighting is very basic and era appropriate for the piece but still manages to add to the pace and intensity of the piece.
STRANGE FISH
Differently to ‘Dead Dreams…’ Strange Fish highly emphasises the use of costume, lighting and décor to create a powerful visual effect the set is designed by Peter J. Davison, It includes water and a brown back wall covered in windows, which help convey to the audience, that Newson’s work does not always create beautiful pictures, it is often awkward, unnatural and disturbing but also strangely beautiful at times so the audience is drawn in to the work. Another example is a scene that takes place in a narrow confines of an old hallway made claustrophobic by the stuffy orange hues and lighting, but at the same time we see a wonderful use of space in the duet in which the couple move in, around and off one another including the wall. The amazing set opens with a chiaroscuro crucifixion, an emaciated Christ on the cross, ivory face hanging to one side, brown curls tumbling across a bony shoulder, classically naked but for a ragged cloth wrapped around the waist. Breasts hang above the hollow rib-cage, this Christ is a woman and she’s singing a sort of mass later explained to be ‘English backwards or Latin.’
The scale of props alone has increased from ‘Dead Dreams..’ to ‘Strange Fish’ still keeping within the powerful visual connotations they may have but on a much larger scale from the crucifixion set which is still able to provoke controversey by being female.
ENTER ACHILLIES
Newson uses symbolism to uncover horrifying yet shocking images that challenge the issues he sees as unjust as in ‘Dead Dreams…’ - In Enter Achilles a blow up doll is used to represent a woman which is later abused and raped, a shocking yet truthful way to challenge the audience. The rape in Enter Achilles also symbolised the relationship between men and trust, which is often stereotyped as being ‘gay’ or very feminine. However this juxtaposes the physicality the man shows, as he has a lot of strength,force and power. Similarly in ‘Dead Dreams…’ hanging bodies represent that of mass murderer Dennis Nelson, an issue Newson feels is also unjust and important to address the audience with. Compared to ‘Dead Dreams…’ technology alone has advanced from 3 sets to having over 5 different sets in ‘Enter Achillies’ and it all being filmed flawlessly using dolly cameras and cranes which complements the piece by making it more aesthetically pleasing for the audience.
COST OF LIVING
HOW DOES THIS RELATE TO THE PIECE? HOW CAN YOU SEE THIS
In 2004, DV8 made ‘The Cost of Living’, for Channel 4 television. Based on a longer performance piece and was released on DVD in the UK and is now available from all major retailers, e.g., HMV, Virgin, Fopp, MDC, Amazon, and from Digital Classics. Compared to ‘Dead Dreams…’ fast forwarding time to ‘Cost Of Living’ DV8 has revolutionised within technology from video to dvd, and being premiered on a multi-million pound tv station is a huge contrast. In today’s society you can purchase this performance from leading retailers as it is not enough to see a Newsons work once on stage or once on television, highlighting DV8’s popularity and appeal as their audiences get wider.
CONCLUSION
In conclusion ‘Dead Dreams of Monochrome Men’ opened a lot of controversial doors for society as Lloyd Newson pushed the boundaries of his statement of taking risks and challenging the preconceptions of dance. ‘Dead Dreams…’ openened eyes and minds towards the tribulations and struggles within open homosexuality, and the themes of trust,and loneliness. Today DV8 is still reaching new heights as his latest piece ‘John(2014)’ reaches stages but not only are the themes still controversial but the way he even went about interviewing thousands of dancers with intimate question to physically and mentally give context to his piece.
DV8's ethos is about taking risks, both physically and aesthetically, dealing with personal politics and, above all, communicating ideas and feelings clearly and unpretentiously. It is determined to be radical yet accessible, and to take its work to as wide an audience as possible, In addition to his choice in dancers Newson’s attitude towards dance is that it “embodies denial” and is often “artificial” which is why a lot of his movement is again very realistic but also shocking. Overall Newsons work challenges attitudes and issues that he sees as unjust/opressive by his use of shocking imagery, realism/naturalistic feel, “normal dancers” and his use of the “total theatre”. Using dialogue and song when movement could not bring out the emotion to challenge the issues (e.g. in Strange Fish singer ‘Jesus’ on cross, challenged audiences views as it went against religion in that ‘Jesus’ was a man, but a woman was chosen as she could reach a wider vocal range). Newson still creates stricking pieces like he does such as ‘Dead Dreams of Monochome Men’ as a choreographer and a human being he is triumphantly raising awareness, and bringing attention to critical social issues that he believes in or is fighting against precisely to expose such attitudes that Newson founded DV8 in 1986 upon.
DV8
DV8 Physical Theatre
DV8 Physical Theatre was formed in 1986 by Lloyd Newson, Lloyd Newson, Newson studied psychology and social work at Melbourne University. During that time he became interested in dance, he then received full scholarship at London Contemporary Dance School. Before DV8 Physical Theatre was founded in 1986, Newson danced and/or choreographed with many companies including Modern Dance Ensemble, Impulse Dance Theatre/New Zealand Ballet Company and many more.
About DV8
After forming DV8 Newson then went on to produce 18 dance pieces, all of which have toured internationally, and 4 award-winning films for television featuring the types of modern day dance. Critics have said that Lloyd Newson’s work definitely breaks down the barriers between dance, theatre, and personal politics, touching on many taboo topics. DV8 has commissioned set designers and living composers for its works, helping investigate the relationship between body, architecture and music.
”As is usual with DV8, the thematic idea is explored in movement of extraordinary invention, breathtaking risks involving split-second timing, astonishing strength and stamina.” - London Evening Standard
Latest
JOHN is a new verbatim dance-theatre work by Lloyd Newson, Artistic Director of DV8 Physical Theatre. Newson interviewed more than 50 men asking them frank questions about love and sex. One of those men was John.What emerged was a story that is both extraordinary and touching. Years of crime, drug use and struggling to survive lead John on a search where his life converges with others in an unexpected place, unknown by most. JOHN authentically depicts real-life stories, where movement and spoken word combine to create an intense, moving and poignant theatrical experience.
Performance
Tonights performance went really well, and i am so proud of everyone as a company. I only heard positive comments, and that it really affected people, and raised awareness about mental health. It was also an amazing opportunity to showcase us as not just dancers and that we can be raw and deep. I feel that everyone connected with each other on stage and true emotion was felt. I don't feel like anybody held back which gives me the confidence and standard that our next project has to raise to as it was an amazing experience. I am very grateful to be able to now manage my emotions, and hopefully that will now come out when I am dancing swell, now I can switch it on and off just by tapping into a memory. i just hope that we did our teachers and everybody from Young Minds justice as they all inspired us deeply.
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