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Seven Deadly Sins Teachers Notes Natalie Weir’s ‘Seven Deadly Sins’ The following pack is designed to give teachers and students an exclusive insight into the creation and presentation of Expressions Dance Company’s 2015 production of ‘Seven Deadly Sins’. To create the Teacher Resource Pack, we examined the 2010 Senior Dance Syllabus, paying particular attention to teacher and student needs for Appreciation and Choreography. We also sought to provide dance teachers and students with a unique perspective on the creation of the work, to further their understanding of choreographic and design processes and how this translates into performance. We have also provided some example Appreciation and Choreography tasks, which could be used as stimulus for assessment tasks after viewing the performance. EXCLUSIVE Access to the creative team and their methods… EXAMINE Example assessment tasks… EXTEND Themes and ideas surrounding the work, and how these could be explored further… EXPRESSIONS Background information on Expressions Dance Company… TEACHER RESOURCE PACK 1 CONTENTS Synopsis and information about Natalie Weir 3 EXCLUSIVE Interview with Natalie Weir 4 Storyboard 6 Interviews with the dancers 9 Interview with designer Bill Haycock 13 Costume sketches, set design 14 EXAMINE Example Appreciation Task 1 16 Example Appreciation Task 2 16 Example Appreciation Task 3 17 Example Choreography Task 1 18 Example Choreography Task 2 18 Example Choreography Task 3 (Classroom task) 19 EXTEND Extend, Explore, Connect and Engage 20 History of EDC 21 We are very interested in the continual improvement of our Teacher Resource Packs. If you have any feedback on the pack, please feel free to us know. Contact Expressions Dance Company on [email protected] or 07 3257 4222. 2 Natalie Weir’s 7 Deadly Sins 21 to 29 August, 2015 Playhouse, QPAC Wrath . Greed . Sloth . Pride . Lust . Envy. Gluttony. Plunge into a wicked tale of ancient sin unleashed on the modern world. Internationally acclaimed choreographer, Natalie Weir, and the Expressions Dance Company ensemble of award- winning dancers take you on a journey through the seven deadly sins in this edgy, world-premiere production, spiced with villainous wit. Spotlighting the inherent frailty and imperfections that exist in us all, 7 Deadly Sins explores the age-old sinful nature of mankind retold through electrifying contemporary dance characterised by Natalie Weir’s unique insights into the human condition. Rich imagery, extravagant costumes and breathtaking movement will pack an emotional punch in this devilishly delicious adventure. Presented by Expressions Dance Company and Queensland Performing Arts Centre Choreography and Concept – Natalie Weir Dancers – Expressions Dance Company Designer – Bill Haycock Lighting Design – David Walters Composer – Darrin Verhagen About Natalie Weir Natalie is known internationally for her highly physical partner work, her organic movement style and her touching insight into human nature. On her journey with EDC as Artistic Director, Natalie continues to create work that balances artistic risk with accessibility and that speaks of humanity. Natalie Weir has created over 160 professional works in her 25+ year career. She was a founding member of Expressions Dance Company and was offered her first choreographic commission by Expression’s artistic director, Maggi Sietsma at 18. Natalie was resident choreographer for Queensland Ballet and Australian Ballet and has worked extensively throughout Australia, creating works for the country’s other major classical and contemporary dance companies, including West Australian Ballet, Dancenorth and Australian Dance Theatre. Career highlights include creating Petrushka for Queensland Ballet and Dark Lullaby for the Australian Ballet. Natalie has also created works for, or had her works performed by, international companies such as Houston Ballet, Singapore Dance Theatre, Hong Kong Ballet and American Ballet Theatre. Natalie’s work has been recognised through Helpmann Awards for where the heart is (2011), Australian Dance Awards for where the heart is (2011) and R&J (2012). Her work Steppenwolfe for Houston Ballet received the prestigious Choo San Goh Award and her original version of Turandot for the Hong Kong Ballet received the 2004 Dance Award for Best New Work. Natalie was appointed Artistic Director of EDC in January 2009, fulfilling her long-term dream to build an ensemble of dancers and contribute to the future of Australian Dance. 3 EXCLUSIVE Introduction to ‘Seven Deadly Sins’ by EDC Artistic Director, Natalie Weir (Interview conducted on 7th July 2015 – Day 1 of development) W HAT WAS THE INSPIRATION TO CREATE THE WORK ‘SEVEN D EADLY S INS’? It was an idea that has been floating around for a while now. When looking for something for this company to do and good roles, it seemed like, I have seven dancers and there are seven sins. Each dancer could have something really special rather than one person is featured and everyone else is secondary. It would be nice to do something where everyone is strongly featured. I don’t know where I found the idea, but it just seemed like good fodder. W HICH DANCER IS PERFORMING WHICH SIN? We did a creative development for 3-4 weeks at the beginning of the year and every dancer got a chance to play with every sin. This is different to what I have done before where I would normally just cast it because I know them so well. Each dancer got to play with every sin which was really interesting and then finally at the end of the month I cast it. Elise is ‘Lust’, Michelle is ‘Wrath’ due to her beautiful, fiery strength, Rebecca is ‘Envy’ and Cloudia is ‘Sloth’. Sloth is a good one. Jack is ‘Gluttony’, Ben is ‘Pride and Daryl is ‘Greed’. We have our extra dancer Thomas Greenfield who was in ‘When time stops’ playing the role of ‘Man’. The seven sins and ‘Man’. I S THE WORK A NARRATIVE OR LITERAL PIECE? It is more of a narrative piece but it is not telling a story. It really is a physicalisation of the sins. They start very elegantly dressed, and they all start in boxes. Thomas as ‘Man’ is sitting in his rather large box watching television and out of the television comes ‘Sloth’. This idea I am working with is a mannequin that also plays the role of ‘Man’ and the idea is that ‘Man’ leaves himself, as ‘Sloth’ comes out and becomes part of this unveiling of the boxes and the revealing of the sins, he opens all of the seven boxes. It is like they have been locked away in a crate for a long time. Is it like in his mind or in his psyche? Yes, that’s what I am trying to poke at I think. In terms of him leaving himself, he unlocks all that and for whatever reason he is trying to come to terms with something and so he unlocks each of the boxes and unleashes the sins on himself or on the world. When they first appear they are quite ancient. I was inspired by a particular artist that did ancient painting of the seven deadly sins, and from that, wanted the dancers to look similar. They are dressed in gold, they are in boxes that are gold. They are elegant, highly dramatized, and heavily clothed sins and they then shed their gold like they are shedding skin and become a truly physicalisation of the sin. So the works revolves around ‘man’ being affected by the sins and the sins being affected by each other. One of the sins has to be ‘deadly’ so at the moment it will be ‘Wrath’ that turns deadly and the storyline presents the ‘man’ in a place of violence where he has to make a choice and then he goes back into his box. The sins disappear like they have gone out into the modern world. There is a story but there is a lot of room for intense physicalisation. I am not looking at this work from a religious point of view, there is no judgment or anything, nothing like that, just that perhaps it’s ‘man’ dealing with something that has happened in his life or doing something he regrets. Whether that has anything to do with lust or violence that remains to be seen. The dancers often take me to places I am not expecting and things can change. It could also be looked upon like ‘Man’ is watching ‘Game of Thrones’ and just gets absorbed into the action or it is just happening in his mind or physically or spiritually, it’s open to interpretation. 4 D ESIGN WISE – WHAT WERE YOU HOPING TO ACHIEVE VISUALLY? There is a huge box in the middle for ‘man’ and a large box for the TV which is sloth’s box which she comes out of. ‘Man’ then drags each box into the space, each sin has a box that was designed to suit their character or qualities of the sin. Bill Haycock is the designer for the work and we discussed creating visually spectacular costumes however those costumes don’t allow for much movement. So we got the best of both worlds, it starts off very elegantly in gold and gold jewels and gold boxes and then they shed their costumes to reveal raw, organic black underwear. M USICALLY – WHAT DID YOU HEAR AS THE ACCOMPANIMENT FOR YOUR WORK? We are not using live music for ‘Seven Deadly Sins’ but we went for an electronic composer. We wanted a big loud music score, so Darrin Verhagen who lives in Sydney who has done work in dance, theatre and films has created this big score that has been composed specifically for this work. It is a mix of percussion, voice, violins, sounds and breathing and this big, bold sound. W HAT IS THE TIMELINE TO CREATE THIS WORK? We had 4 weeks at the start of the year and today is day one of now taking that work we played with and start to put it all together.
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