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The World of Arts:
Writing on dance
Gwen Herat
Many ballet developers ask why The Royal Ballet shun the use of video
and DVD recordings rather than depending on the notator for restaging
their works. Though a digital footage can be studied with a written
score and to rely exclusively for a dance account is like asking a
musician to perform a symphony from a record.
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Two modern dancers. |
Since both disciplines require the method of capturing their art form
with complete accuracy but for which ballet means a three-dimensional
representation of movement that only a score can produce.
If a choreographer has to study a video before he can direct, it is
bound to be time-consuming. Companies without notators cannot imagine
the advantage that notations bring. A problem with digital recordings is
that they do not differentiate between choreographic intention and
interpretative dancing though both are vital to notations.
Substantial details
When the work is revived at a later date, the original will be closer
and more informative as found in the score bearing in mind that the
notations is only good as the notator. Of course, a substantial amount
of details is needed to convey a sequence of dance. A dancer once have
danced, will never remember what she has danced. Nor will she bear in
mind to what particular score she blended her steps.
When symbols are used to describe movements and positions of all
parts of her body as well as the directions she is facing, her position
on stage and in relation to others, she will finally find her timing and
movement alongside the music. The ultimate score is the product of a
two-stage process by which the choreographic phase is created and
rehearsed. The second is the period ensuing when the score is written
down or better known as notated.
But there is a problem since speed is the essence during the first
stage, the score is only meaningful but legible to the person who wrote.
However, during the second stage, the notator will fill in the
details and set it neatly. Depending on the length of the work, this
task will take few weeks to several months as it is estimated that one
minute of choreography takes approximately eight hours to notate in
full.
Brilliant systems
Phew; what a task; I will not touch it for gold, given the chance to
notate. Many Dance Company directors are of opinion that the analysis
involved in writing dance is just mind-blowing and incredibly difficult
and very detailed but swear by this system as brilliant.
The notator is also a chronicler of the works in progress keeping a
record of the scores as they evolve including many changes made.
This is apart from his being an activist of the finished works. The
choreographer will call upon the notator as an important source of
reference during the creative process. For example, if the choreographer
decides to revert back to an early version of the dance that he or she
has forgotten.
Very often, the scenes that are to be performed simultaneously are
created separately and the choreographer has to be reminded of what
different groups of dancers are doing at a particular moment.
A glowing example of such cross-checking was involved in the creation
of Electric Counterpoint choreographed by Christopher Weeldon who asked
his notator Anna Trevien to refer back to scores, so that he would know
what steps Sarah Lamb and Edward Watson would perform at the exact time
Zenaida Yanowsky and Eric Underwood would. When a work is restaged, the
notator will act an authoritative resource. It will immensely help the
choreographer to rehearse without a flaw.
Reshaping the stage
When restaging is done, especially after a length, the scores are
kept very much alive. While different stagers have different emphasis,
it becomes the task of the interpreter to decide how best to record each
person's version. There is no such thing called a 'fixed-test'. The
choreography for the 'corps de ballet' seldom or never change. There is
ample opportunity provided for the Principal dancers and Soloists to
vary considerably from one to another in roles that are relatively
fluid.
Dancers often have the choice of performance, particular steps,
favouring one leg over the other and some turns better danced in one
direction.
However, these differences are very subtle and not significant as the
audiences would hardly notice but are important enough to be written
down on the score.
It seems paradox.... and very welcome one as such that the most
transient of art forms should have such thorough a system not only on
record but to preserve them for posterity.
And to learn the importance of a dance writer (notator) I had to wait
all these years until my first visit to the Royal Ballet few months ago.
Better late than never. |
