Thursday, 15 March 2012

Costume and Setting of Giselle


“In the first act, the action does not take place in the conventional Germany; Marie-Louise Ekman has created a surrealist landscape in a naive style: a tropical island’s mountainous shapes suggest the sensuality of a woman’s body, generous, voluptuous. The second act is also a mental landscape. On the walls, pieces of human bodies are placed here and there, a nose, a finger, a breast... a mangled humanity, broken into pieces and trapped in an empty and icy space.”
Madeleine Kats


The Costume

The costume for Giselle is a dark pink and light pink long skirt and top, which suggests her plain, child like mind set, manor, and behaivour. Albrecht wears all white which means he doesnt work, as it was highly impractical in those days to wear less durable clothing that  needs lots of washing to work, as work then, was manual labor like farming etc. The Willies now mental patients, wear modern hospital robes and some wear head bandages. This is suggesting that back in those days when it waas set, patients must have had surgery on the head as the doctors saw it as a way to make them better. The costume for the Villagers and Hilarion are rough looking, wearing dark trousers and top. This is because black is a practical working colour and the rugged material and the dye is cheaper so therefore the clothing will be cheaper as villagers were poor.

Thursday, 8 March 2012

Matts Ek's Training and Background



http://www.google.co.uk/search?rlz=1T4ACAW_enGB349GB349&q=matts%20ek&um=1&ie=UTF-8&hl=en&tbm=isch&source=og&sa=N&tab=wi&ei=TLxYT5bEJIiy8QPHxYGEDw&biw=1024&bih=322&sei=WbxYT8_KJZSf8gPVuZ2CDw

Ek was born in Malmö in 1945, the son of the Royal Dramatic Theatre actor Anders Ek and famous choreographer Birgit Cullberg.


At 17, he followed a summer dance course (modern) taught by Donya Feuer. He pursued theatrical studies at the Marieborg Folks College in Sweden. From 1966 until 1973, he acted as the director for the Marionett Theater as well as the Royal Dramatic Theatre in Stockholm.


In 1972, Ek joined the Cullberg Ballet. In 1975, he formed part of the corps de ballet for the Ballett der Deutschen Oper am Rhein in Düsseldorf. And in 1976, he made his first choreography titled The Officer's Servant for the Cullberg Ballet. In 1978, Ek became, together with Birgit Cullberg, artistic director of the Cullberg Ballet, until 1985 when the responsibility became his entirely. This position he fulfilled until 1993. During the season 1980-1981, he was associated with the Nederlands Dans Theater as dancer as well as choreographer.


In some of Ek's former choreographies, traditions of Kurt Jooss and of his mother, Birgit Cullberg may be apparent. He uses classical as well as modern dance techniques. Social engagement of psychological dilemmas combined with subtle humor, form the basis of his choreographies. For Ek, movement is a means of individual expression. Aesthetic value is not his first priority.


He has for thirty years been a highly esteemed choreographer throughout the world. He studied dance and theatre and directed theatre at the Marionette Theatre, the Stockholm City Theatre and the Royal Dramatic Theatre. In 1973 Mats Ek joined the Cullberg Ballet as a dancer. Three years later he began choreographing for the company with immediate success.
http://en.wikipedia.org/wiki/Mats_Ek#Life_and_career