Justin Peck's "In the Countenance of Kings" review:
Justin Peck: In the Countenance of Kings
How does the piece make you feel?
I immediately start to ask questions. Who is the girl lying exhausted on the floor? Why is her image a different version of herself? Why does she come alive in body and spirit when she is transported into the renaissance palace? The dazzling frescoed setting adds to the magnitude of her dreams, but also contrasts with the modern: the neutral leotards, the plain white trainers and the exuberant running across the stage. The consistent sharp and unexpected movements going in all directions build increasing suspense due to the uncertainty of what is to come. The steady rhymical pulse of the music, the gradual increase in numbers on stage, and the strong and compelling movements make the piece mesmerising. As an observer, my pulse keeps apace with the music … and then I am pulled out of my dream in the same way as the leading dancer.
How do the dancers move? What patterns and shapes do you see? What movements do you recognise?
After watching Justin Peck's choreography I realised it is full of choreographic devices including: unison, contrast, reverse, repetition, argumentation, climax and highlight. I believe that repetition is the ultimate device used throughout; it enhances the flow and gives a sense of meaning to the phrase.
What is the piece trying to communicate?
The bold use of the trainers and the glowing faces of the dancers as they run powerfully across stage inspires a feeling of freedom - they are dancing with joy and exuberance, enjoying their feeling of liberty. As well as this, the video suggests this is the woman's dream; it is perhaps a message to the audience never to stop striving for their own ambitions. They too can stare into the Countenance of Kings!
Justin Peck: In the Countenance of Kings
How does the piece make you feel?
I immediately start to ask questions. Who is the girl lying exhausted on the floor? Why is her image a different version of herself? Why does she come alive in body and spirit when she is transported into the renaissance palace? The dazzling frescoed setting adds to the magnitude of her dreams, but also contrasts with the modern: the neutral leotards, the plain white trainers and the exuberant running across the stage. The consistent sharp and unexpected movements going in all directions build increasing suspense due to the uncertainty of what is to come. The steady rhymical pulse of the music, the gradual increase in numbers on stage, and the strong and compelling movements make the piece mesmerising. As an observer, my pulse keeps apace with the music … and then I am pulled out of my dream in the same way as the leading dancer.
How do the dancers move? What patterns and shapes do you see? What movements do you recognise?
The piece is exciting, energetic and unpredictable. The choreography has been cleverly constructed as a visual volcano. It moves rapidly from duets into solos, large groups into smaller groups, partner-work and then back into solo focus. This certainly makes the piece come to life by the sheer number of transitions. As it gradually intensifies, the number of dancers in the hall likewise increases and at its zenith there are 14 dancers on stage. However, these abruptly melt away to leave the girl, as she started, in a quiet and bare studio.
Despite the sharp, rapid and vigorous movements, there is a sense of fluidity and synchronisation. It moves in and out of symmetry and dancing in unison forms a key part of the dance. The corps de ballet do not just form a background frame for the soloists, they interweave and become integral to their movements. They run on powerfully and purposefully and smoothly recreate pattern and symmetry.
Consistent changes in height and direction add to the energy of the piece. The amount of jumping increases towards the end, suggesting flight and freedom. Unquestionably, the use of running shoes to replace pointe shoes, alters the atmosphere of the work. It becomes modern, energetic and allows interesting alternatives - the corps de ballet running in circular movement around the soloists, the crouching as if ready to start a race, and the interlocking patterns breathe life and originality into the piece.
After watching Justin Peck's choreography I realised it is full of choreographic devices including: unison, contrast, reverse, repetition, argumentation, climax and highlight. I believe that repetition is the ultimate device used throughout; it enhances the flow and gives a sense of meaning to the phrase.
What is the piece trying to communicate?
The bold use of the trainers and the glowing faces of the dancers as they run powerfully across stage inspires a feeling of freedom - they are dancing with joy and exuberance, enjoying their feeling of liberty. As well as this, the video suggests this is the woman's dream; it is perhaps a message to the audience never to stop striving for their own ambitions. They too can stare into the Countenance of Kings!
Well done, this is a great blog. What effects do you think the number of transitions in the piece has on the audience?
ReplyDeleteI feel the transitions add to the dynamic of the piece. They add energy and build up to the climax at the end when the whole group perform together. The rapid running on an off also adds a sense of unpredictability. They keep the audience interested and bring a new sense of vitality at every change.
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