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ACT THREE

 

The final act was probably the most interesting for me, visually and concept-wise. There were two parts to the final act, differentiated by the costume change. The dancers came on in the traditional orange-gradient costumes that I have seen before in photographs.

This whole act, I felt, was a look into Clark's mind and how he thinks. The dancers were interacting again, but in a more random way, not fluid like the first act. This, I took, was the formation of ideas, and their development inside Clark's mind. There was a sense of a kind of leading character in the first few pieces of choreography; one male dancer seemed to lead the others, i.e. he would do an alternate choreography when the rest were all in synchronisation. At one point, he was the only dancer on pointe which elevated him above the other dancers, which added on to my idea that he was perhaps of more importance than the rest.

This choreography had a lot of couple work in which careful balances were carried out (as pictured above). The caution and carefulness that went into these balancing shapes was amazing, and made me think about how one gets their mind around an idea, and how to form it properly you need to take care, as well as get the right balance of the right aspects.

The music was quite chaotic, with a few spoken words over it, which made me think of how Clark could perhaps hear his own voice inside his head and how it mixes with the chaos of ideas. The background changed from the first two acts and began to have words projected onto it. The words read things like 'why, who, what, i'm thinking of starting a zoo' etc. This adds to the chaos you may find inside Clark's mind, and this idea of a zoo is very relevant as a zoo is a form of pandemonium but is always full of life and wilderness. 

The costumes then changed - from the orange gradient to a black and white striped, geometric design with fringed sleeves. The music changes to a rocky tone, with the band featuring in the background, projected onto the screen, the lead singer's face painted assumedly by Leigh Bowery (an artist Clark collborates with frequently). The synthesised feel of the music and the slurred movements of the dancers lead me to believe that this new segment was perhaps the mind under the influence of substances, such as alcohol and drugs.

The screen also had black stripes running across it that corresponded with the stripes on the dancers' costumes. As the piece went on, I found that the stripes started to remind me of jail bars and the old outfits people used to wear when incarcerated. This could maybe symbolise how, through abusing substances, you're trapping yourself in your own mind.

The background screen lifted after a while so that a circular mirror could be used to light the dancers' bodies. I thought this was maybe a symbol of how your own reflection can be blinding, yet can also light your way. During the piece, the female dancers used stools with mirrors on the top, integrating them into the choreography. The way they used these props was extremely sexual and erotic. I thought that this could maybe be a demonstration of the sorts of situations you can find yourself in when your inhibitons are lowered.

The last scene of the whole show was very chaotic, but very synchronised. There was a lot of energy buzzing not just through the dancers, but also through the audience. I felt as if the show ended on a high, and I felt very inspired and yet thoughtful as I walked out of the Barbican, excited for my current project to do with choreography.

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