Resource Pack 2016

Contents

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Introduction 3

Background and training 4 – Initial Training 4 – A new beginning 5 – Early Work 6 – Russell Maliphant Company 7

Movement Language –MovementInfluences 9 – Maliphant the performer 11

Creative Process 12 – Long Term Collaborations 13 – Lighting 13 – Costume 16 – Music 16 – Revisiting work 17

Interviews with Collaborators Michael Hulls – Lighting Designer 18 Dana Fouras–CollaborativeAssistant/Dancer 20 Carys Staton–CompanyDancer 23

References 26

Introduction

RussellMaliphanthasbeendescribedasa“genius”(TheGuardian2015) and his workas“dazzlingphysicalpoetry”(TheTelegraph,2015).

Thisresourcepackprovidesaninsightintohischoreographicpracticeexploringhisbackgroundandtraining,performancecareer,earlyinfluences,movementlanguage,andcreativeprocess.Italsocelebrateshislong-standingandhighlyacclaimedcollaborationwithlightingdesignerMichaelHulls.

ThepackiscomprisedofaninterviewwithRussellMaliphantandhiscollaborators,takenoverthecourseofayear.Itisdividedintothreeclearsectionsandinterwovenintoeachsectionareimagesandvideoclipstosupportthiswrittencontent.ItalsocontainsanappendixwithbackgroundinformationonMichaelHullsandfurtherinterviewstakenwithMaliphant’sCollaborativeAssistantDanaFourasandcompanydancer,CarysStaton.

ProvidedwithinthispackareusefulreferenceslinkedtoadditionalsourceswhereinformationonRussellMaliphant’sworkandcreativeprocessisalsocited.

Wehopethispackwillbecomeausefulresourcefordanceartists,danceeducatorsandtheirstudentsandwillbeofinteresttoawideraudiencewhosharethejoyofwatchingRussellMaliphant’sbeautifulwork.

Lucy Muggleton and Jane Woolley

Foruptodateinformation,touringandeducationactivitieson Russell Maliphant Company: www.russellmaliphant.com

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Background & Training

Initial Training

‘A choreographer of persistent accomplishment and a performer of enduring fascination… mesmerising.’ (The Times)

Bornon18November1961inOttawa,Canada,RussellMaliphantspenthischildhoodinCheltenhamwherehestudiedballetandavarietyofotherdancesuchastapandmodernatThePatriciaNewmanSchoolofDance.Hewentalong with his sister when he was nine.

“WhenIfirststartedtherewerenootherboysstudyingdance,therewereonlygirls.IthinkdeterminationanddisciplinewassomethingthatIhadfromanearlyage.”(Maliphant,2016)

In1977attheageof16hebegantrainingattheRoyalBalletSchool.Attheendofhissecondyearhewonaprizefor the most improved student and in his third year was the onlyonechosenfromhisyeartolearntheleadrolefortheschool’sperformance.Laterinthatfinalyearheconstricteda nerve in his shoulder and lost the use of his arm. It took himninemonthstomakean80%recoveryandwhenhereturned to repeat his third year he felt the loss of ease of shoulderrangewhichwasbothrestrictingandfrustrating.

In1981hewasacceptedintotheSadler’sWellsRoyalBallet(SWRB,nowBirminghamRoyalBallet).Hisabilityasaclassicaldancerwasevident.HewaschosentoperformsignificantSoloistrolessuchastheKingofSpringinDavidBintley’sSnowQueen,BennoinSirPeterWright’sSwanLake,BluebirdinSleepingBeautyandBlackamoorinPetrushka.Afterfiveyearsofbeingwiththecompanyhecreatedhisfirstshortpieceofchoreography:“Itwasfor an entirely unrelated personal development weekend. I hadtoperformatwoorthree-minutesolowhich,IdecidedtochoreographmyselfandIstruggledtoputsomethingtogether.IrememberfeelingthatthevocabularyIhadputtogetherwasratherclichéd.I’dseenitallbeforeanditwas

just a different arrangement of what I already knew. I think there was a part of me that would have preferred something elsebutIdidn’tknowhowtogoaboutfindingthat.IknewIcouldn’tfinditwithwhatIknewuptothattime.” (Maliphant,2016)

This frustration ignited an interest in other forms of movementandhehadbecomeinterestedinEasternphilosophy.“MyfatherwasalwaysinterestedinEasternphilosophy and he read a lot. I probably had a bit of an interestinthatfrommychildhood.IsawanadvertinHollandParkforsomeoneteachingtaichiandwentalongto private lessons to learn the form. I kept that training going formanyyearsalongsidemyballettraining.”(Maliphant,2016)

AfewyearslaterwhilstontourinBrazilduringthemid-80shealsodiscoveredcapoeira,aformofmartialarts,andsoughtclassesinLondonwhenhereturned.Maliphantdidn’talwaysfeelcompletelysatiatedthoughasaballetdancer.Asheexplains:“Whileeveryoneelsewouldbewarmingupbydoingthesplitsandstretching-I’doftenbeinacornergoingthroughthetaichiform.Ithoughttaichiwasbeautiful:theinternalqualityofit,thesoftness.”(Maliphant2016)

DrivenbyhiscuriosityofthedanceworldoutsideofSWRBhemadethedecisionin1987toleavethecompanytopursueacareerinindependentdance.“IheardmyselftalkingaboutSadler’sWellsRoyalBalletinawaythatwas not always positive. I was aware enough to know that Ididn’twanttobeapersonwhoiscomplainingabouttheirlifewhenithadbeensogoodandI’dhadsomanyopportunities, so I knew that I had to do something to get outofthat.”(Maliphant,2016)

Pana

yiotisSinno

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A new beginning

TherewerefiveotherpeoplethatwerereadytoleaveandtogethertheyformedacompanycalledDanceAdvance.Theaimofthecompanywastobreakdownbarriersandbridgethegapbetweentheclassicalandmodernworldbyusingclassicalballetinnewways.Thecompanysoughttopromotenewworkbychoreographers,composeranddesigners,workingincollaboration.

InthefirstseasonSirKennethMacMillancreatedSeaofTroublesforthecompany.Maliphantwasexcited:“MayerlinghadbeenmadewhenIwasattheRoyalBalletSchool.Thepartneringwasmind-blowingwithsuchincredibleflow,throwsandturns.Itwasverydifferentfromsomeoftheothermoreconventionalclassicalballets,wherethere’slessmovementthroughthespinebutthetorsoismorefocusedonbeingelegantandregal,alongwiththemanyconnotationsthatimplies.”(Maliphant2016)

AfterthefirsttourincludingSeaofTroubles,DanceAdvanceinvitedLloydNewsontomakeapieceonthecompany.HecametowatchthemperformattheQueenElizabethHallandthefollowingdaytheymetwithhim.Hefelthecouldn’tworkonacompanythatalreadyexisted;heneededtochoosethepeoplethatheworkedwithindividually.HetalkedtoMaliphantandaskedifhewouldconsiderleavingthecompanyandjoininghimforhisnextproject,whichwasDeadDreamsofMonochromeMen,based on the fantasy life of the serial killer Dennis Nilsen.

“Ididn’tknowLloyd’sworkatthetimesoheshowedmeavideoofthepieceMySex,OurDance.Ilovedthevocabulary,therawpedestrianrunningandjumping.IfeltitwassomethingIcouldreallyrelatetoandwantedtotryit.Thevocabularyandthewayitwasperformed,said‘we’rehereasrealpeopleinallourcomplexities’ratherthantheassignedrolesI’dseenmoreregularlyinmanytraditional

ballets. I had a different relationship to the material and I wasquiteexcitedtothinkthatmyexperienceandmylifecouldnowbeapartoftheworkinanew,differentway.”(Maliphant,2016)

Maliphantsaidtheexperiencegavehimaverydifferentperspectiveonmovementandinspirednewwaysofworkingforperformance.Thetechniqueofclassicalballetthathe’dstudiedforsomanyyearssuddenlyfeltlimitingonhisbodyinthisnewcontext.Hefelthestruggledtodothingsthatotherdancersinthecompanyoffourcoulddo,likelethisbodyfullyrelaxandsuddenlydroptothefloororfall,spinandcomebackupeasilylikehisco-dancerNigelCharnockwhohadaverydifferenttraining.“Nigelwasfantasticinthethingsthathewasdoing.Ithought–wow!Ican’tdothatevenaftersomanyyearsoftraining.” (Maliphant,2016)

It turned things around for Maliphant who felt there was morelearningthatheneededtodo.Someofthatincludedunlearningthingswhichwereingrainedinhisbody.Hesaidhehadn’teverthoughtabout‘droppinghisbody,orlettinggoofholdingpatterns’becausehe’dalwaysbeengoingtowardsaparticulargoalandthatgoalwasclassicalballet.“Soitchangedaperspectiveformeanditmademewanttolookintootheravenuesoftechniqueandmovementstyles.”(Maliphant,2016)

In1989MaliphantperformedwithMichaelClarkCompanyinthefilmBecausewemust,inwhichClarkthumbedhisnoseattheconventionsof‘serious’dance.HethenwentontoperforminClark’sHetrospectiveattheAnthonyd’Offaygallery.“Itwasnotorious;therewerethreedancersaswellasMichaelhimselfandStephenPetronioandwewereallnaked and shaved, totally hairless, and we had feather boasthatsometimescoveredourgenitals.Itwasabigarteventforthetime”(Maliphant,2016)

Afteraperiodof‘researchanddevelopment’withClarkinAmerica,MaliphantreturnedtoLondonandsawtheworkofLaurieBoothwhowastobecomeamajorinfluence.HesawhimperformasoloshowattheICAin1989.

“Lauriewasworkingasanimproviserbutitdidn’tlookanything like improvisation to me, it was unlike anything elseI’deverseenindance.Intermsoflanguageithadarealdynamicscaletoit.Thereweretimeswhenhewasjustkind of walking around and there were times when he was reallymovingwithflow,energyanddynamicsandothertimeswherehewasstorytelling.Ithadgreatvarietyinit.”(Maliphant,2016)

Maliphant was invited by Booth to Dartington to do some workshops. They got on well and Maliphant liked his way of

Dead Dreams of Monochrome Men, Film still

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working.Usingimprovisation,heshowedhimhowtocreateanalternativelanguagedrawingfromballet,taichi,andanyothermovementvocabulary.“Hetaughtmealotabouttheuseofspace,workingwithamotif,repetition,energyandfocus.Hegavemetoolsandawarenesstocreatewithimprovisation.”(Maliphant,2016)

MaliphantwasinfluencedbyhowBoothfusedhistrainingofcapoeiraintohiscontemporaryworkandevenmoresobyhowBoothusedimprovisationtocreateinstantaneouschoreography.ItprovidedMaliphantwiththeconfidencetoventureintodancemaking:“Itchangedmyviewaboutcreativityandmakingthings,andaboutchoreographyandthephilosophyoftheperformancespace.IfIhadn’tmetLaurieIwouldn’tbemakingmyownworktoday.” (Maliphant2016)

Booth taught Maliphant to think about improvisation, encouraginghimtofindwaysto‘colourthespace’byusingphysicallanguageas‘brushstrokes’.Healsoemphasisedtheimportanceoflightinthecreativeprocess,withthetwoofthemperforminganimprovisedduettitledSpatialDecayin1990.BothMaliphantandBoothwereawardedaTimeOutLiveAward1991fortheirworktogether,recognisedforraisingimprovisationaldancetonewheights.

ItwasduringthisperiodthatMaliphantfirstmetMichaelHullsandthismarkedthebeginningofoneofthemostprolificandhighlyacclaimedartisticcollaborationsbetweenachoreographerandalightingdesigner.Hullshad also studied at Dartington, a few years earlier than Booth.TheyhadbothtrainedunderStevePaxtonandsharedanenjoymentoftheprocessofimprovisation.TogetherHulls,BoothandMaliphantworkedonSpatialDecaywherethelightingwasimprovised,aswellasthemovement material. Although the rig for the lighting was set thelightsMichaelusedatanypointwereimprovised.

“Youwouldknowthatifyouwereimprovisingdownstageright,there’sadownwardfocusedparcanlightor,ifyou’reacrossthebackthere’sasidelightorbacklightwashthatcouldpickyouup.Wewerethinkingalotabouttherigandthespace.MichaelwasplayingwithusandwewereplayingwithMichaelsotherewasacommunicationgoing on not only on the stage between the performers but alsooffstagetoMichaelinthelightingbooth,andIreallyenjoyedthis.”(Maliphant,2016)

AsaresultofthisinitialcollaborationMaliphantandHullsgottoknoweachotherandbegantodiscusstheideaofmaking a work together where light might be the starting pointofchoreography,ratherthanmusic.

“Ouraimwasandhasalwaysbeenultimatelytocombinethechoreographyofthebodyandthechoreographyoflighttocreateasymbioticwholeinwhichboththoseelementscanreachtheirfullpotentialaspartners.”(HullsandMaliphant,2015)

SpatialDecaytouredonandofffortwotothreeyearsbutwas the only thing Maliphant was performing during that time.Herealisedthatheneededtokeepfitandkeepontopofallthedifferenttechniqueshehadlearnt.Hethoughtthemostchallengingandeffectivewaytoaccomplishthatwouldbetoworkonasoloforhimself.“AftertheimprovisedduetwithLaurie,whatcouldbeevenmorechallenging?Withasolo,therewouldbenooneelsetorely on if I lost my train of thought. It is something I would have found terrifying twelve months earlier. Working with Lauriedemystifiedimprovisationandputmeinaplacethatwasexciting.Creatingasolowasaboutsettingmyselfapersonalchallenge.That’swhyIdidit.NotbecauseIeverthoughtaboutchoreographingworkasafutureatthatpoint.”(Maliphant,2016)

Early Work

EvolvingParadigmbecameMaliphant’sfirstwork,createdin1991.Hehadwantedthepiecetobeperformedthatyear, but a few days before the premiere he suffered aseverekneeinjuryandhadtoundergotwosergicaloperations.Asaresult,whentheworkwasfinallyperformed,ithadbecomemoresetthanpreviouslyplanned.“Sometimesmykneewouldtwistoutofplace10to15timesaday.Ihadtofindawaytonavigatearoundthelowmaterial.Ireallylikedworkingatthatlevel.I’dstudiedUkrainiandancebeforeIwenttotheRoyalBalletSchoolsoIknewalotofthatlanguageandI’dalwayswantedtoutilise it. It was probably good for my knee. Ultimately, it madeitstrongeranditmademeintentonfocusingtomakeit work better. It was also one of the things that led me to Rolfing.”(Maliphant,2016)

Spatial Decay,HugoGlendinning

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DuringMaliphant’srecoveryfromhisinjuryhehadbeentoseeapractitioneroftheRolfingmethodofStructuralIntegration.DevelopedbyDr.IdaRolf,Rolfingisamethodinvolving deep tissue manipulation and movement education.Itaimstobalancethebodyandhelpitdealwithgravitymoreefficiently.InspiredbywhathehadlearntduringthisrecoveryperiodMaliphantdecidedtoembarkonamodulartrainingprogrammeover3-yearsstudyingRolfing,anatomy,physiologyandbiomechanics.In1994hebecamecertifiedasapractitionerofRolfingStructuralIntegration.

“Rolfinghasbeenabiginfluence.Itanalysesflowinthebodyandflowaroundthejointstoseehowthearticulationsaremovingandiftherearepartsthatseemlessenergisedorfluidthanothers.Itisgenerallyappliedtouseforposturalbalancebutcaneasilybeshiftedtochoreographicmovementflow.”(Maliphant,2016)

In1992Maliphantreceivedhisfirstcommission,aquartettitledRelativeShiftforRicochetDanceCompany.ItwasthisintroductiontoRicochetthatfirstgotMaliphantchoreographing.ThefollowingyearMaliphantparticipatedinworkshopswithDanaReitzandJenniferTiptonaspartoftheDanceUmbrellaprogramme.HewasinspiredbytheirworkbetweenmovementandlightandbothHullsandMaliphanthavecitedthemasbeingabiginfluenceontheirwork.“WewerefascinatedbytheworkofDanaReitzandJenniferTipton.Jenniferwasaveryexperiencedlightingdesignerandwhenfacilitatinginaworkshopshewouldalwaysinvitethechoreographerstoassesswhichstatewasbetterfortheirneeds.Shewouldoftenwitholdheropinionbutwouldinvitetheyoungchoreographerstotrythingsandseeitforthemselves.Shewouldencourageandinitiateathoughtprocesswhichwasveryhelpful.” (HullsandMaliphant,2015)

In1994MaliphantcreatedthesoloParadigmanditwasduring this period that he began developing his own explorations,utilisingknowledgeoffasciallinesandflow

through the body, drawing on a lot of the information learnedinhisRolfingtraining.

Russell Maliphant Company

By1996MaliphantformedRussellMaliphantCompany.ItwasduringthisyearthathemadehisfirstfullworkwithHullstitledUnspoken.Forthisworktheymadeadecisiontoreversethemoretraditionalapproachwheremusicisusedfromthebeginningandlightisaddedattheend.Insteadtheybeganwithlight;Hullsdesignedand set up a rig and they worked with that over several weeks.ChristopherBannermanhadgiventhemspaceatMiddlesexUniversityastheyhadnofunding.OnceHullshadsetupthelightingrighetaughtMaliphantthemechanicsofhowtooperateitthroughthelightingboardandwasthenabletoleavehimtoexperimentwithideas.WhenHullsreturnedtheylookedatthemovementandlightingpossibilitiesandfromthattheycreatedstructuredcompositions.

ShortlyafterthisperiodMaliphantparticipatedina‘researchanddevelopment’labwherehemetPeterBonehamwhowastobecomeachoreographicmentor.“Experientiallytherearetwodifferentkindsofinspirationsinmywork.Firstly,themovementsidewhichhasdevelopedaspartofapersonalpracticeandtrainingovertheyearswithinfluencesfromformslikeRolfing,classicalballetortaichiforexample.Secondly,themorecompositionalinfluencesthroughworkingwithpeoplelikeLaurieBooth,LloydNewsonandPeterBoneham.” (Maliphant,2016)

BonehamwastheartisticdirectoratLeGroupeDanceLab(LeGroupelabdedanse),acutting-edgeinternationalcentrefortheresearchanddevelopmentofcontemporarydance.Bonehampioneeredthe‘dancelab’conceptwherebyestablishedchoreographerswereinvitedtoreceivestudiospace,theuseofLeGroupe’sprofessionaldancersandtheattentionandguidanceofanexperiencedmentor.AkeyattractionoftheDanceLabexperiencewastheparticipationofamentorwhoserolewastochallengethevisitingartistandtoofferguidance.DanceLabprovidedanurturingenvironmentthatgavechoreographerstheopportunitytoexperiment,exploremovementvocabulary,andmostimportantly,takerisks.Theemphasiswasontheprocessofmakingdanceratherthantheproductionofafinaldancework.

BonehamwasbroughttotheUKbyAssisCarreirotoruntheresearchlabinBirmingham.“Asamentor,Bonehamwouldn’ttryandputhismarkonmaterialinanyway,hewouldjustsay“wellhere’swhatitissuggestingtome,isthatwhatyouintendordidyouintendsomethingelse?”He

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Russell Maliphant, Evolving Paradigm,HugoGlendinning

wouldhelpusunderstandhowthematerialmightbenefitfromaddingortakingaway.That’ssomethingnowthatstayswithme.WhatisitthatIamdevelopingnow?WhatisitthatI’mseeingandwhatdoIwantpeopletosee?IsthatcomingthroughandhowcanImakethatmoreclear?”(Maliphant,2016)

Maliphant then went over to Canada for three weeks where LaGroupewasbasedandproducedmuchdeeperwork.Followingthatperiod,Maliphantcreatedoneofhisseminalworks,CriticalMass,in1998.

In1999are-workingofCriticalMasswasmadeforfilm,directedbyDavidHintonandshownonChannel4,andsoMaliphant’sworkbegandevelopingawideraudienceanditcaughttheattentionofWilliamTrevittandMichaelNunn(GeorgePiperDancers,nowBalletBoyz)whomthenaskedMaliphanttocreateaworkwiththem.InthefollowingyearMaliphantcreatedTrioandTorsion(2002)forthem.AbreakthroughmomentcamewhenWilliam(Billy)andMichaelbroughtSylvieGuillemtoseeaneveningofRussell’sworkatThePlace.“Sylviesaidshehadfounditdifficulttostaystillinherseatandwatch,shewantedtogetupanddancelikethat.”(Maliphant,2016)

AftertheperformanceSylvieaskedMaliphanttocreatesomethingonher,MichaelandBilly.Theresultwasa30-minuteduettitledBrokenFallwhichpremieredattheRoyalOperaHousein2003,andwonanOlivierAwardforbestnewDanceProduction,touringinternationallyfortwoyears.GuillemlateraskedMaliphanttocreateaduetespeciallyforhimtodancewithher.Initiallyreticentashehadretiredfromdancethepreviousyear,RusselleventuallydidmakesomethingforSylvieandhimself,a30-minuteduettitledPUSH.Theworkreceivedfourmajorawards:AnOlivierAward;SouthBankShowDanceAward;TimeOutAwardandCritics’CircleNationalDanceAwardfor Best Modern Choreography.

InthesameyearMaliphantbecameAssociateArtistatSadler’sWells.Theworksthatfollowedwereartisticallydiversecollaborations.Thefirst,CastNoShadow,wasincollaborationwiththevisualartistIsaacJulienandthesecond,Eonnagata,wascreatedandperformedwiththeatredirectorRobertLepageandSylvieGuillem.

In2009MaliphantwascommissionedtocreateaworkaspartofSadler’sWellscelebrationscommemoratingonehundredyearsofDiaghilev’sLesBalletsRusses.Afterlight,asolo,receivedtheCritics’CircleNationalDanceAwardforBestModernChoreographyin2010andwasalsonominatedforanOlivierAward.ThefollowingyearMaliphantwasawardedanhonorarydoctorateofartsfromPlymouthUniversity.In2012MaliphantcreatedThe

SylvieGuillemandRussellMaliphant,Push,TristramKenton

Daniel Proietto, Afterlight,HugoGlendinning

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RodinProjecthisfirstfulleveningofwork,whichwaslateradaptedforfilmandre-titledErebus.

In2014MaliphantwascommissionedbyEnglishNationalBallettocreateSecondBreathaspartofaneveningtitledLestWeForgetmarkingthecentenaryofWorldWarOne.TheeveningofworkwhichalsofeaturedpiecesbyAkramKhanandLiamScarlett,wontheSouthBankSkyAward2015.

Maliphant’seveningofworkConceal|Reveal(2015)markedthe20thyearofthecollaborationbetweenMaliphantandHulls.Theeveningofworkcelebratedtheuniquepartnershipandunparalleledlanguagebetweenlight and movement that has developed between Maliphant andHullsoverthepasttwodecades.

Movement Influences

Maliphant’smovementinfluences,asnoted,havebeendrawnfrommanysources,includingballet,capoeira,Rolfing,taichi,yogaandcontactimprovisation.“TherewerethingsaboutclassicalballetthatrestrictedmeincertaincontextsandsoIfeltIneededmorevarietyinmybodywhereIcoulddropcertainthingsatcertaintimesandpickthemupagain.Thatledmeonapathexploringimprovisation,yogaandsoftertechniquesbutbecauseI still loved ballet, I wanted to work with a language that movedthroughallofthose.It’sthetechniques’qualitiesratherthanthetechniquepersethatinterestme.It’snotthatIsetouttouseataichiphraseormovementbutImightuseaqualityorelementsofit.”(Maliphant2016)

Maliphantprefersforhisworknottobecategorisedintospecificmovementstylesbutinsteadhereferstotheebbandflowofeachmovement.“Iseemovementmorelikecalligraphyinspaceorshapevocabularywithelementssuchasdynamics,tension,juxtapositionandrelationships.

Themovementisagravity-basedflow,exploringqualitiesofmovement.Classicaldanceistraditionallymorelightandmoreupwardlyoriented,whilstcontemporaryisgenerallymore oriented down, relating to the earth. I am trying to drawonandexpandthroughthatrange.Itisasynthesisofformsandinformation”.(Maliphant,2016)

CarysStaton,acompanydancersince2011,portrayshowsheseesMaliphant’smovement:“BothRussellandDanaFouraswereclassicallytrainedandthemovementisstillquiteclassicalintermsofmakingbeautifullines.Othercontemporarydancecompaniesareaboutbreakingtheselinesdown.Russelliscommittedtomakingbeautifullines,butratherthanusingtheclassicaltechniquetoinhibitormakethemovementsmaller,heswitchesitandmakesthetechniqueallowadancertoexpandandgrowwithit.”(Staton,2015)

Exploringthiswithhisdancers,Maliphantoutlinesatypicaldayinthestudio:“Thecompanyoftenhavealittletimedoingtheirownthingbeforewecometogetherasagroup.

Movement Language

‘Maliphant has consistently produced artistic elixir that if unable to prolong life certainly makes it richer while we are here.’ (Maura Keefe, 2014)

Chris Nash

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When we do start, it often involves getting more deeply intothesenses,toincreaseawarenessofbreath,skin,bodytensionsandstructuralrelationships.Qualityandbreath might be tuned into any number of small and large movements and in a variety of relationships to gravity, forexample,lying,sitting,squatting,standing,moving.Sometimesanimprovisationaltaskmightbeusedtoexplorevocabulary,paceorqualities.”(Maliphant,2016)

Statoncontinuestodescribeherexperience:‘‘Hisknowledgeofanatomyandfasciallinesisincredible.Evenafterthreeyears,wetakeclassandthereisstillnew information and new ways to think about doing an oldmovement.Russellmakesusswitchourmindsetand perform it in a different way. I have learnt a lot about opennesstochangingandlettingmybodyfindnewwaysofmoving.”(Staton,2015)

Maliphant is interested in many movement analysis forms includingLabanMovementAnalysisandhehasexploredthe work of Bartenieff and Bonnie Bainbridge Cohen. In thelightofthis,MaliphantdescribesashortfilmbyJohnLasseter,anAmericananimatorandoneofthefoundingfathersofPixarAnimationStudios,asawayofillustratingone way he thinks about movement:

“IrememberseeingadocumentarywhereJohnLasseterexplainedhisfirstfilmLuxo JuniorwhichusedtwoAnglepoise lamps. Lasseter was asked how he gets so muchemotionalexpressionfromaninanimateobjectandheexplainedthatwe’rereadingthetimingrelationshiptothefloorandthespine.The‘father’hasaheavierbaseandhasmoretimeintouchwiththefloor,whilstthe‘child’isbouncingandjumping.Howmuchyouseethespineliftedorhowmuchyouseeitdroppedissomethingthatwereadoftenunconsciously.Theyareallgreatwaysoflookingatmovementthatarenotreallyspecifictoanytechnique.Itisactuallyabouttheflowofmovementandwiththatanylanguagebecomessuitable.Thatiswhyithasbeen

possibleformetoworkwithsomeonelikeDicksonMbi,whoseprimarypracticewaspopping,orAakashOdedra,whosetrainingiskathak,andnotfeelentirelylikeIdon’tknowthislanguage.”(Maliphant,2016)

Maliphant’sknowledgeofRolfingandhisanalyticalapproachtomovementopeneduphisideasaboutworkingwithpeoplewithadifferentvocabulary,asheexplains:“WithDickson,IwasabouttostartworkonThe Rodin ProjectwhenI’dseenhimperformintheLilianBaylisStudioatBreakin’Convention.Hewasdoingalargelyimprovisedset,dressedinstreetclothesandhadacharismaticcharmandgroundedqualitythatcameacrossthroughhismovementlanguage.Ihadwantedtoworkwithdancerstrainedinsocialdanceandhiphopforalongtimeandputagrouptogetherthathadafantasticrangeofskillsanddifferentmovementexperiences.Iwantedtoexploreanewlanguageforthepiece.Iwantedtotrysomethingdifferent.”(Maliphant,2016)

InexploringanewlanguageMaliphanttriedtodeconstructsomeoftheelementsofpoppingandbreakingtofindawayofusingthemincombinationwithelementsfromhisownfluidmovementvocabulary,inordertoforgeadifferentunity.HisideasaboutmovementandformwereinformedtosomeextentbyRodin’ssculpturesandthewaytheartistshapedthebodywithtorsionsandturns,counter-twistsandcurves,asifthebodywasmovinginaspirallingmotion. These are elements that Maliphant had used in earlierchoreographies.Acharacteristicfeatureofhisvocabularyisthearticulationofthearmsfolding,curvingandspirallingandthefluidmovementsofthespineasittwists and undulates.

Piece No. 43, HugoGlendinning

DicksonMBiStillHugoGlendinning

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Maliphant the performer

‘Heisadancerinwhomstrengthandgraceshareequalbilling,andthechoreographydrawsuponhisextraordinaryabilitytomakeheavy-setcompressedmovementspringtolifewithanimpossiblefluidity.Solightfootedandbeautifulistheeffectthattheballastofhisownmagnificentpowerisallbutinvisible.’(DeborahCraine,1998)

Asadancer,Maliphantisexceptionalanditseemsthemore he learns about the body, the more enthused he becomes.“Themoretimegoeson,themoreIconnecttheprinciplesofallthesebodypracticesandtheyfeedintoabodyofwork.Thebodyisanendlessresource,Ifeellike I know a reasonable amount about it now, but it is still nothing.Itisjustthetipoftheiceberg.”(Maliphant,2016)

FootageofRussellMaliphantdancinginShift,createdin1996,performedhereat–

https://youtu.be/6qLcflTwTq0?list=PL5TdQaWwoOsETzVCztgOD7CMzElrtkoTo

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AttheoutsetofanewprojectRussellMaliphantoftenbeginsbyexploringhisideaswithhisdancersinaworkshop setting. This is his way of seeing how they interpret his ideas with their bodies.

Hisanatomicalapproachtocreatingworkoftenexploresthebody’sfasciallinesorparticularbodypartsandtheflowofenergythroughthese:“Iusuallygointoaprocesswithaphysicalstartingpointtogivesomeparameters.Withthe solo <<both, and>>(2015)createdforDanaFouras,bodywork was used as the main starting point. We looked atcertainarticulationsforexample,movingtheupperribsandDanaexploredthis.Usuallyotherthingswillbegintopresent themselves when I play around with improvisations onwhat’semerging.”(Maliphant,2016)

FourasfurtherdescribesMaliphant’sapproachtoworkingwithhisdancers:“OnceRussellseesqualitiesinaparticulardancerandheseestheirlanguagedevelop then he has something to work with. Then he will start manipulating their material drawing out of them andselectingthemostinterestingpartthathesees.Forexample,Ithinkhelikesmyarmsastheyareveryexpressive,sohewillencouragemetoextendwaybeyondwhatiscomfortableforme.Forexample,witharmrotationsIwillrotatethearmtoapointbuthewillreallytrytocarrythat into the spine and the momentum of the body. Russell willalwayspointoutthatyoucangofurtherwithyourbody.Hewillseethingsthatyoudon’tseeinyourself.”(Fouras,2015)

Alternatively,Maliphantmayemployamoretask-basedapproachtohiscreativeprocess.WhencreatingAfterlight (2009)Maliphantusedanew,morethematicapproachtochoreographybytakinginspirationfrombothpicturesofNijinskyandhisdrawings.“IwasworkingwithspiralsinthebodyasNijinskyoftendisplayedcounter-rotationinhisbody.ItinspiredataskinwhichDanielProiettowasinvitedtoextendandspiralthroughfasciallinestocreatemovement that made sense to me on his body. In my work itisusualtocollaboratewiththedancerinthiswayduringaprocess.”(Maliphant,2016)

A video clip of AfterlightdancedbyDanielProietto,createdin2009,performedhereat https://m.youtube.com/watch?v=gB7HnxmeDfo

MaliphantsaysthesuccessoftheprocessheusedforAfterlightgavehimtheconfidencetoadoptamoretheme-basedapproachagaininworkssuchasThe Rodin Project, whichemployedsimilarmethods.“ForThe Rodin Project weusedahugenumberofvisualcues,booksonsculptureandseveraldocumentariesaboutRodin.WeallwenttoTheRodinMuseumandsawthesculpturesandwatercolours,thiswasapartofhisprocess.”(Staton,2015)

Oncetheinitialtaskshavebeenexplored,thenextstageofthecreativeprocessisoftenfordancerstorelearnsectionsfromimprovisations.“Themiddlepartofthecreativeprocessistrickier.Itisthedifficultbitwherewemightneedtolearnbacksomeoftheniceimprovisationalpartsthathavebeenfilmedandsharematerial.”(Fouras,2015)

Creative Process

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JohanPersson

‘Russell will start on an anatomy train of thought or on a task based process that just organically leads into moving your body deeply.” (Dana Fouras, 2015)

Long Term Collaborations

ThesuccessofMaliphant’screativejourneycanpartlybeattributedtothecloseworkingrelationshipsMaliphanthasnurturedwithhislongstandingcollaborators:MichaelHulls,AndyCowton,Mukul,StevieStewartandDanaFouras.Hisextensiveexplorationsofthequalityandworkingsofadancer’sbodylieattheheartofhisworkbutthesediscoverieswouldnotevolvewithouttheclosecommunityofartistswithwhomheworks.“Russellmust feel a kinship with the people he works with. It is not a family but there is an understanding, shared characteristics.Whenitworksitisspotonanditiswhatwetrytoachieve.IthinkwewillallcontinuetoworkwithRussellforareallylongtime.”(Fouras,2015)

Lighting

In the moulding of material, lighting plays a pivotal role. Maliphanthasalong-standingcollaborationwiththe

acclaimedlightingdesignerMichaelHullsandheisanintegratedpartofthecreativeprocess,oftenfromthebeginning.

“Thecreativeuseoflightisaconstantprotagonist.Duringtherehearsalprocess,elementsthatmayaffectmaterialcouldbetheframeoflight,thedirection,locationandintensity,andsizeofthelitarea–whatphysicalelementsarehighlightedorobscuredandwhatlookstomecomplimentaryinanygivenstate.Ifwehavelightnearthebeginningoftheprocess,wemightfirstworkoutwhatelementsofthevocabularycould,inmyopinion,fit.We might also get some idea initially about duration, but thiswillbeapproximate.Wecanthenstartputtinglongerphrasestogethercontainingthoseelementsinthestudio,phrasesthathavetheirownphysicallogicanddynamics.When we later have the opportunity to run things through againwiththelightwewillthenhaveaclearerpictureaboutwhetherwe’reontherighttrackandcanstartthinkingmorein detail about duration before moving on to assembling

Daniel Proietto, Afterlight,JohanPersson

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ThefilmingandreviewingofmaterialisacorepartofMaliphant’sprocess.In2000hewasawardedafellowshipfromArtsCouncilEngland.Thefundingfromthisfellowshipallowedhimtopurchaseaneditingprogram,FinalCutPro,whilstalsoattendingavideo-editingcourse.“BeforeIhadFinalCutProIwoulddoimprovisationsandselectmovementstolearnbackfromthevideocamera.Softwarehasmadeitsimplertoexploreandputtogethermanydifferentassembliesandsequencesbeforelearningthemback,savingalotoffrustrationforthecompany.Thecomputertimealsoletsyougettoknowthematerialinadifferentway.Sometimesyouhavetowatchsomethingsomanytimestounderstandthevisualdynamicsand

impressionscreated.There’susuallysomethingthatIseethatisinthearticulationintheshapemaybeorinthefloworspeed.”(Maliphant,2016)

WhenusingFinalCutProMaliphantattachesnotestoeachclipofmaterialthathehascreatedforexample‘addapausehere’or‘rondedejambethelegatthispoint’.EditingthematerialoncomputerinthiswayalsogivesMaliphantanopportunitytoplaywithchoreographicdevicessuchasaddingrepeats,reverses,retrograde,reordering,changingthespeedofamovementortryingoutdifferentmusictothesections.

sections.Ifthereareareasthatappearabitdull,wemightsee if there is something to do that energises the result throughanyoftheelements;movement,lightorsound.Itisgenerally these three elements that we are playing with and theycontributetothewholeofthefinishedpiece.” (Maliphant,2016)

SoimportantislightinthecreativeprocessthatMaliphanthaschosentoforgohavingalargecompanyofdancers.“Peopleask‘whyisRussellMaliphantmakinganothersoloorduet?’It’sbecausethatallowsustoalsoputanallocationofmoneyintothelights.I’veworkedwithmanymoredancersinothercompaniesbecausetheymaybeusingadifferentscaleofbudget.ToworkwithtwentymoredancersatEnglishNationalBalletwasafantasticopportunityforme.Ireallylovedhavingthatexperienceandwouldabsolutelydoitagain,however,mycompanyhasenabledustoexploretherelationshipbetweenmovementandlightinaveryspecificway.”(Maliphant,2016)

OvertimeHullsandMaliphanthavedevelopedacommonlanguageenhancingeachother’screativity.Hullshasdescribedthisformofcreatingasauniqueprocessinwhicheachartisthastheabilitytochangeanddevelopwhatevertheotherbrings.Thiscollaboration,bringsoutmorethaneachartistcouldachieveontheirown.“Sometimes,themostexcitingthingsaretheonesyoucouldneverimagineonyourownbutgettobysomeinteraction.Itmightbeahappyaccident.That’screativity.”(Maliphant,2016)

MaliphanthasalwayscitedHullsashisco-creatorashealways wanted light to be indivisible from the movement. “Ifyoutookthelightingonitsownitwouldn’treallymakesenseandifyoutookthedance,thereisnootherwayof

lighting it, it has to be like that as the movement is made likethat.Theonlywayyoucanmakesomethingindivisibleistostartwithlightingfromthebeginning.” (HullsandMaliphant,2013)

Fouras,describeshowMaliphanthasaspecialsensitivitywhenexploringthelightandthebody:“HecanputadancerintoalightwithMichaelandthatdancercan’treallyunderstand the light, even if they have made material, they may not understand the light, how it falls on the skin or howthespeedoftheeyecantaketheinformationofthelight.MichaelandRussellhavedevelopedthisovermanyyears. When Russell himself goes into the light everyone says“nowweunderstandwhatyouaresaying”.Sothelightcansculptthebodybutthebodycanalsosculptthespace.Thisthree-dimensionalrelationshipishowRussell’smaterialdevelops,it’sverystrongandeasilyreadableforsomemagicalpurpose.”(Fouras,2015)

LowlightingcanbeusedtohighlighttheintensityofMaliphant’schoreography.Increatingdarkscenesonstage,Hulls’intentionistodrawtheaudience’seyeonsomethingandpullthemrightintoit:“WithRussell’sworkitseemstomethatthemovementiscomingfrominsidethebodyratherthanfromhavinganideaaboutcreatingapatternwithdancersinspace.There’sanintensitytothatandIthinkyouneedtohavelightthatisreallyfocused,thathelps,oriscomplementarytothatkindofexperience,soitisveryclearyouaretightlyfocusedonsomething.Todothatwithlightyouneedreallygoodqualitydark.”(HullsandMaliphant,2013)

ThisinterplaybetweenthephysicallanguageoftheperformerandthedynamicarchitectureofthelightiscontinuallyexploredinMaliphant’screativeprocess.He

‘People have always assumed that lighting can be like a layer, applied over the finished work – that the designer can be brought in at the last moment… but we begin from day one.’ (MichaelHulls2014)

Dana Fouras

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Dana Fouras, <<both, and>>, Tony Nandi

hasdescribedhowmovementandarticulationforhimhaveaspeciallogic,relatedtoflow,gravity,dynamics,line,form,rhythmandspace.Hebelievestheseelementscanbeseen not only to relate to the body but also to the shape, form,directionandintensityofthelight.BothMaliphantandHullsshareastronginterestinsculptureandthewaylightandmovementinteract.Thissharedinterestinformstheirwork in terms of dealing with the frame implied by a light, theintensityofbrightness,thedirectionofmovementinatransitionortherhythmicinterplayoftheelements.ForbothMaliphantandHullslightcangiveenergytoadancepieceinthesamewaymusicdoes.

InmorerecentworkssuchasAfterlight and Still Current, Maliphant’sdesiretocreatetexturewithinthelightinghasledtocollaborationswiththeanimatorJanUrbanowski.Thisworkhasdevelopedwherethecreationofimagesonstage that have been likened to images within the natural

world. In Afterlight,bothMaliphantandHullsemphasisedthetexturethatthisbroughttothemovement:“Itwaslikeseeingacycloneonaweathersatellite.Itwasinteresting,thelight,dark,midtonesandtexturethatwereachievablewithanimationandaprojector.Thelightwasverytexturedandorganic,itcouldmove,dissolveandreform.”(HullsandMaliphant,2013)

A video clip of Piece No.43 from Conceal|Reveal,dancedbyRussellMaliphantCompany,createdin2015,performedhere at https://youtu.be/ZWY52SqRQBo

A video clip of Still Current (Duet)dancedbyRussellMaliphantandCarysStaton,performedhereathttps://vimeo.com/152692110

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RussellMaliphantandCarysStatoninrehearsal,DanaFouras

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Costume

MaliphanthasbuiltupastrongrelationshipwithStevieStewartwhohasdesignedthecostumesforthemajorityofhisworks.ForMaliphant,costumedesignhasoftenbeenusedtoaddflowtothemovementortosoftentheedges.DuetotheuniquenessofMaliphant’screativeprocessconsiderationisoftengiventotherelationshipbetweenthedancer’sskinandthelight.Maliphanthasemphasisedthequalitiesofhowtheskinlookswhenlightisprojecteduponit.

“Ithinkaboutwhetherwewanttheskinorthecostumetobemorehighlighted.It’salwaysalongconversationabouthowmuchorhowlittleskinorhowlightandhowdarktomakethecostumeorwhetheryouwanttomakethecostumevisibleornotvisible,soyoukeeptryingthingsouttoseewhatworksbest.”(HullsandMaliphant,2013)

Music

Decisionsrelatingtomusictakeplaceatdifferentpointsthroughouttheoverallcreativeprocess.Oftenthemusiciscreatedalongsidethemovementratherthanasthestartingpoint.“Choosingapieceofmusicbeforewe’vestartedworkingisquiterare.Thishashappenedonmaybeacoupleofpiecesoutofforty,usuallyit’swiththecomposerwritingalongsideusintheprocessandquiteoften,that’sa little bit behind us in terms of the duration of material. For

the solo <<both, and>> in Conceal | Reveal forexample,we developed a loose map and knew what most of the movement would be like and had an idea of some of the lightingbeforethemusicwascreated.Weoftenhaveakindofdummytrackforthemusic,intermsofitsatmosphere,energy,andrhythm.ThatissomethingthatDana’srolehasbecomemoreandmorefocusedwith;tosourcemusicforacreation.DanasourcedalotofmusicforConceal | Reveal. ThecomposerMukulusedwhatDanahadsourcedashis‘jumpoff’point,forthesolointhisprogrammeofwork,whichthenhelpedcreateamapforPiece No.43.”(Maliphant,

2016)

OnearlierpiecessuchasFallen, Maliphant has adopted aslightlydifferentapproachtomusicparticularlywherehe has not had Fouras working alongside him. In these circumstances,hehaschosentolookatmovementmaterialduringrehearsalswhilstplayingcertaintracksofmusiconaloopinthebackground.Thisapproachallowshimtoseethemovementinjuxtapositiontothemusic.ItwasthroughworkinginthiswaythatRussellwasledtothecomposerArmandAmarwhomhebuiltacollaborativerelationshipwithandovertimeweavedanewcompositiontogetherforhis work Fallen.

ThemusicforTwo,thefirstsoloMaliphantcreatedwithFouras,wasalsobuiltoutofadummytrackwherebyupto95%ofthelightandthematerialwasinplacebeforeAndy

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Cowtoncomposedthemusic.Similarly,forBroken Fall, BarryAdamsoncomposedthemusictowardsthelaterpartoftheprocess.MaliphantwasusingAdamson’salreadycomposedtracksasaninitialmaptocreatematerialinthedancestudio.Maliphantwouldthenshowhimsections,oftenonfilm,astheybecamemoredevelopedandAdamsonwouldthengoawayandwriteforthatsection.AndyCowtonfollowedthesameprocessinthecreationofPUSH.Maliphantexplains:“There’softenmusicplayinginthestudio,itgivesusacertainfeel.Sometimesitisthereto provide energy and sometimes it is there to provide an interestingjuxtapositiontothemovementandsuggestboundaries.”(Maliphant,2015)

Revisiting Work

Thedesiretore-visitworkandexploreitonadeeperlevelisacommonthemeinMaliphant’swork:“I’veenjoyedhavingtheopportunitytoworkonpiecesforlonger.Topresent Two,forexample,manytimesandtore-workintoTwo x Two or Two x Three, has enabled me to work with differentpeople’senergy,dynamicsandqualitiesandthencomebacktoitwiththecompany.Ireallyenjoythatprocess.”(Maliphant,2015)

Maliphanthasbeenclearthathedoesnotseeexploringthesamesubjectmatterwithnewdancersasrepeatinghimselfbutratherasanopportunitytofinddifferentlevelsofqualitywithinthevocabulary.Hebelievestheexplorationsofmaterialondifferentpeoplebenefitfromrepeatedvisits.“Thequestionsweneedtoanswerdonotnecessarilychange,asanswersareoftencomplexanddetailed and you need to go deeper and deeper into the explorationtogettothedepthofthoseanswers.” (Maliphant,2016)

FourashasdescribedMaliphant’sdesiretore-workmaterialasaresponsetothepeopleheisworkingwith.“Thereissomething in how Russell responds to people, he never reallyfeelslikehehasfinished,soheisusuallyreadytogoon.Thisisoftenhowhefeelsattheendofapiece.Howitendssuggeststohimwheretostartwiththenextpiece”.(Fouras,2015)

Thisdesiretoexplorecreativeideaswithothersonanin-depthlevelisastrongcharacteristicofMaliphant’swork.Thistraitchallengeshisdancersandcollaboratorsto go beyond where they would normally push themselves as artists. Those that have been willing to trust Maliphant andstriveforthesamelevelofinquisition,travelonthiscreativejourneywithhimchangingasartistsalongtheway.DancerssuchasDanielProietto,JulieGuilbert,AlexanderVarona,DicksonMbi,ThomasinGülgeçandCarysStatonhavedisplayedanopennessandcommitmenttoRussell’swork and with his support have developed greatly.

Maliphant’scontinuousprocessofrefiningthethreeelements of movement, light and sound, in both new creationsandrevisitedworksleadstoareductionandpurificationofideasthatdriveshisworktonewheights. Thecreativeprocessisnotsimplyaboutrepetitionbuteverycreationandperformanceisanewopportunitytoexploretheinteractionsofbody,lightandsoundatadeeper level.

IntegraltothevisualimpactofRussellMaliphant’sworkhasunquestionablybeenMichaelHulls’lightingdesign.ThecollaborationbetweenMaliphantandHullshasbeenhailedinTheDailyTelegraphas“possiblythemostsignificantcreativepartnershipinmoderndance.”

“Theuniqueandunparalleledlanguagebetweenlightandmovementthattheseaward-winningartistshavedevelopedhasbeencreatedthroughmorethan40worksoverthepasttwodecades.Theyaretwoofcontemporarydance’smostdefiningartistshavingchangedthelandscapeofmoderndanceandstagecraft.”(CultureWhisper,2014)

Bornin1959Hullsdevelopedaninterestintheatreandlightingfromayoungage.“OneofthefirstshowsIwenttoseewhenIwasyoungwasafamousproductionofTreasure Island at the Mermaid Theatre. There were some scenechanges...andthelightingwentdarkandmurky...itwassomysteriousandnon-narrativeandyoucouldjustsee people moving around... that was inspiring to me. It was ambiguous, you were not sure what you were looking at.”(Hulls–Brown,2014)

HullshadnoformaltraininginlightingdesignoptingtostudyadanceandtheatredegreeatDartingtonCollege.Hisparentswerebothartists,hisfatheranarchitect;this nurtured his interest in theatre and design. Whilst at Dartington,HullsstudiedcontactimprovisationwithStevePaxton.Thisexperienceinstilledaloveoftheimprovisationprocessandadesiretoworkcreativelyintheatreanddesign.“ThiswaswhereIrealisedIwantedtobeinvolvedintheatre...butalsointhedesignofit.”(Hulls–Brown,2014)

SoonaftergraduatingHullsmetLaurieBoothwhohadalso studied improvisation at Dartington a few years earlier. BoothwasintheprocessofcreatingSpatial Decay.“He[Booth]understoodIwasdesign-basedandheaskedmetocomeanddosomelightsforhim...I’dhadnolightingtraining.”(Hulls–Brown,2014)ItwasthroughthisconnectionwithLauriethatHullsfirstmetMaliphant.Thefoundationsof their relationship were built through spending time together in airports and hotels whilst on the road touring Booth’sSpatial Decay.Withinashortspaceoftimeit

Interviews with Collaborators

‘Hulls’ lighting is truly a life force for dance.’ (IsmeneBrown,2014)

Michael Hulls - Lighting Designer

becameobvioustoHullsthattheysharedkeyinterestsandthe same vision.

“IenjoyedmeetingRussellonstagewithmeimprovisingwithlightingandhimimprovisingthedancing.WhatIwasparticularlyinterestedinwasthewayRussellseemedtobeparticularlysensitivetothelightonstageandhewoulddanceinadifferentway.”(Body:LanguageTalk,2013)

Hulls’developedafascinationwithMaliphant’suniqueapproachtolightandhowthiscouldaffectthewaythebodymoved.AsHull’sdescribes:“Ifhe(Russell)wasinthecentreofthelighthewoulddancedifferentlythanifhewason the very edge of the light. This was interesting to me andIthoughtthishadpotential.”(Hulls–Brown,2014)

In1992,withnoformaltrainingbehindhim,HullsappliedforfundingfromArtsCouncilEnglandtoattendatwo-weekcoursewithJenniferTiptonandDanaReitzinNewYork.TiptonhadbeentrainedbyJeanRosenthal,someoneMichaelhadgreatrespectfor.Hebelievedherexplorativework with Martha Graham formed the foundation of light anddesignandhassincedescribedherasthepioneeroflighting design.

TiptonwasamajorinspirationthroughoutHulls’career.“I’donlyjuststartedasalightingdesignerandI’dbeentoldshewas‘thebestintheworld’.ItwasinspiringseeingthatthekindofthingthatRussellandIweretryingtodowasn’tcrazy...thatwecoulddoacollaborationoflightanddanceinawaythesetwowomenwerealreadydoing.” (Hulls–Brown,2014)

Gavin Evans

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OnhisreturntotheUK,HullswithMaliphantbeganusingimprovisationasatooltoexplorethepossibilitieswithindanceandlighting.Theybeganthroughimprovisationtocreatetheinitialdanceandlightmaterial.Overtime,improvisationwasusedforthecreationofmaterialandgraduallytheexplorationsdevelopedintostructuredperformances.HullsandMaliphantwerecurioustoexplorewhatatruecollaborationbetweendanceandlightwouldlooklike,withtheaimoftotallyaffectingwhateachotherdid.

FortenyearsMaliphantandHullswentontheroadtogether,survivingonverylimitedandsporadicprojectfunding.“Wefeltstuckinthisunderfundedpositionwherenot many opportunities presented themselves, yet we knew thatwhenwedidthingspeopledidquitelikethem.” (Hulls–Brown,2014)

Occasionallytheywereabletofindsupportfortheirresearchanddevelopmentthroughtheirconnectionswithinthedancecommunity.ChristopherBannermanoccasionallygavethemfreespaceatMiddlesexUniversity.“Thisgaveustimetoplaywiththingsthatyoudon’tnormallyhavewhenyou’rejustsettinglightveryquicklyhoursbeforeaperformance.”(Body:LanguageTalk,2013)

Astheircreationsweredependentondarknessitwasn’tassimpleasjustworkinginadancestudio.AsHull’sdescribes:“Thestudiohadglasswallsandwindows,soeverydayRussellandIhadtostartbyblackingoutalltheglassandwindows...youcan’thavelightingwithoutdarkness,andthequalityofthedarknessisreallyimportant.”(Body:LanguageTalk,Sadler’sWells2013)

Theirfirstcollaborationswerelimitedfinancially.TheycreatedtheduetUnspokenin1996andthenthesoloShift inthesameyear.TheduowentontocreateTwoin1998,averyheavilylightinginspiredpiececreatedwithperformerDanaFourasinwhichtheprimaryrelationshipwasbetweenthe performer and the light.

In2003,Broken Fall wascreatedwithSylvieGuillem.TheformationofthisnewpartnershipcameattherighttimeforMaliphantandHullsandliftedthemintoamorepositiveperiodofcreation.ThepairwonanOlivierAwardforbothBroken Fall and PUSH,whichfollowedtwoyearslater,andthissuccesspropelledtheircareerstonewheights.

From2001onwards,theircareerswentfromstrengthtostrength. This period was marked by both artists winning severalprestigiousawards.Theircollaborationswoninternationalcriticalacclaimacrossabreadthofworks.Forexample:Sheer(2001)wonaTimeOutAwardforOutstandingCollaboration,Choice(2003)wonaSouthBankShowDanceAward,PUSH(2005)withSylvieGuillem,wonfourmajorawardsincludingtheOlivierforBestNewDanceProductionandAfterlightwontwoCriticsCircleawards.

In2009HullsbecameanAssociateArtistofSadler’sWells,thefirstnon-choreographertodosoearninghimselfthereputationasa‘choreographeroflight’.In2012hewasnominatedfortheTheatreManagersAssociationAwardforOutstandingAchievementinDanceforhisbrilliantcontributiontolightingfordance;inparticularforTorsion and The Rodin Project.Mostrecentlyin2014HullsreceivedtheOlivierAwardforOutstandingAchievementinDanceandtheprestigiousKnightofIlluminationAward.

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Where did you first meet Russell?Wemetinthesummerof1994ataperformanceattheQueenElizabethHall(Southbank,London).ItwasthedayIhadlefttheRoyalBalletanditwasamomentousoccasionformeasIwasexcitedaboutmovingon,I’denjoyeditbutIwas ready to leave it behind.

RussellandImetattheperformance,wewereintroducedbyJuliaCarrutherswhosaiditwouldbegoodformetotalktoRussellashehadbeenthroughasimilarexperienceleaving the Royal Ballet a few years earlier.

Weexchangednumbersandbothsaidwe’dliketotrysome work together in the studio. Right after that I did a‘ChoreographerandComposers’courseatBrettonHall.ItwasveryintensiveandLloydNewsonledthechoreography.Iwastheonlyclassicaldancerthere.

How did you start working together?RussellusedtooccasionallygetfreespaceasheknewthestagemanagerattheoldSadler’sWellsTheatre.Theyusedto let him into the building when a studio was empty so we would rehearse there sometimes.

We began to play around with movement and Russell was reallyintoimprovisationandreleaseatthattime,whichwasacompletelynewworldtome.Russellwasatthepeakofhisdancing;hehadsomuchinformationinhisbodythatwasreadable,sowatchinghimwasamazing.Hehadaclearabilitytodropbutstillaclassicalline.Theclassicalshape was familiar to me but we did a lot of work on dropping and letting go.

BackthenRussellwasworkingonbridgingyoga,capoeiraandtaichiandhehadjustcompletedhisRolfingcourse.Hewasdeeplyintothebodyandanatomyandthatreallyreadtome.Hehadadeepunderstandingofthefasciallinesandhewasbeginningtodevelopatechniquearoundtheseandtheflowthroughthebody.Tomeitisveryclear,butitcanbequitehardfornewdancerstograsptheseideaswhentheyfirstworkwithhimasthereissomuchanatomymissingfromtheireducation.It’saveryusefultool,yourbodyisyourinstrumentandyoungdancersdon’treally get taught enough about it.

What was the first piece you made together?Wemadeanexperimentalsolotogetherbutthenmyfatherdied suddenly and I had to return to Australia. Following this,IhadaperiodoftwoyearswhereIdidn’twanttodance.Thisgapwascrucialasthisnon-dancingperiod

allowedallthepullupfrommyclassicaltrainingtobegintounravelnaturally.WhenIcamebacktodancingIbeganworkingwithJonathanBurrowsandRussellsawmeinsome of his work. After this Russell suggested we made a solotogether,whichwasTwo,createdin1998.

What have been your various roles within the company? How have they evolved?FromthebeginningIstartedtowatchRussellwhenhewas preparing for his solo Paradigm(1994).Iwouldwatchhimandgivemyopiniononcertainthings,andthiswasthebeginningofmegivingfeedback.Hereallywantedtheexternaleye,ashewasverymuchinsidehisownwork.Hewouldpointoutthingswithinthework,whenhewatchedhimself on video that he wanted to draw out. Through this Ibegantounderstandhisstyleandhisqualitythatwasareallyfunexchange.Iwouldjustgotothestudioandwatchandgivefeedback,Iwasn’tnecessarilydancing.Iguessthisobservationwasthebeginningofmyrehearsaldirectorrole.

HethenwentontomakeSheerwithmedancing(2001)andothergrouppiecesandIbecamearegulardancerinthecompany.AtthistimeRussellwasstilloccasionallydancingsomeimprovisedperformances.HewouldimprovisetheperformanceswithAdamBenjaminorKirstySimpsonwhilstMichaelHullswouldimprovisethelights.

HeknewIwasastrongloverofallgenresofmusic,soforoneperformanceheinvitedmeto‘improvisethesound’

Dana Fouras - Dancer and Collaborative Assistant

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andthatwasthebeginningofmysound-mixingrolewithinthecompany,whichissomethingIreallyvalue.Fromadancer’sperspectiveIunderstandaboutenergyandhowanupliftingtrackorstrongbeatcanchangetheatmosphereinthestudio.IbelieveIcanrespondtothiswithdifferentmusic.Overtimemyroledevelopedintoprovidingthe‘soundtrackoftheday’duringthecreationprocessusingarangeofspokenword,classicaljazz,housemusicetc.anythingaslongasitwassensitivelydone.

Afterhavingourthreechildren,RussellwentontocreateCast No Shadow(2007),Afterlight(2009)andThe Rodin Project(2012)andforalloftheseworksIwasRussell’s‘CollaborativeAssistant’.Thiswasatitlewedecideduponas by this time I had so many different roles within the company.Iwouldliaisewiththecostumedesigner,coachthedancersinRussell’sstyle,providesoundandbearehearsal assistant to Russell. I would also feed into the workbyfilmingeverything,andlookingafterthecompany’stechnicalequipment.

I’dgoontourwiththecompanysometimesastheRehearsalDirectorifRussellwasworkingelsewhereortouringwithSylviesowewouldsharetheresponsibilityofthecompany.Russellisvery‘bigpicture’andI’mvery‘detail’,soourcollaborationworksverywell.

Can you describe a typical day working in the company?ThereisnotypicaldaybutIcandescribetypicalthingsthat happen in the studio. When Russell starts a new projecthelikestoteachashefeelshecangetabetterunderstandingofthedancers,andseehowtheyinterpretthings.WhenRussellteachesitismoreofaworkshopsituation,itisrarelyasimpleclasswithexercises.Alotofdancersfindthisstrangebutformeit’sgreatbecauseaftertheRoyalBallet,Idon’twanttodoclass.Wewillworkwithan anatomy or task based train of thought together. Then he will start manipulating their material drawing out of them andselectingthemostinterestingpartthathesees.Thenwe’llplayalotofwithdifferenttypesofmusicandshareorlearnmaterial,andthenit’s6pm!

Can you give me an example of his warm up process?Sometimeswe’llspendaround20minutesworkingonourownandthencometogetherandRussellwillstartonananatomytrainofthoughtoronataskbasedprocessthatjustorganicallyleadsintomovingyourbodydeeply.They’realwaysdifferentandthey’reoftenwithsomekindofapparatus.He’llshowuswhathe’sdevelopedwithastickforexampleormassageballse.g.releasingtheshoulders,openingyourfeet.Helikestohelppeoplefeelwhenthey’regettinganiggletounderstandthismore.Somedancers

aren’treadyforthis,otherseatitupandyouseetheirbodieschanging,whichisreallyexciting.

How does he recruit his dancers or collaborators?When he gives workshops he may see someone he likes andhe’llaskthedancertocomebacksohecanspendmore time working with them. This is what he did with Carys Staton.Otherwisethedancerwillmakeamovetowardshim. Daniel Proietto saw his work and started emailing us. DanielandIhadmanyemailexchangesthateventuallydeveloped into a friendship, over time. Russell must feel a kinship with the people he works with. It is not a family but thereisanunderstanding,sharedcharacteristics.Whenitworksitisspotonanditiswhatwetrytoachieve.That’swhyhimandMichaelworksowelltogether,alongwithAndyCowton,StevieStewartandMukul.IthinkwewillallcontinuetoworkwithRussellforareallylongtimeasweareallreallyclosenow.

Describe how the choreographic process feels from your perspective.Formeasadancer…Ithinkhelikesmyarmsastheyareveryexpressivesohewillencouragemetoextendwaybeyondwhatiscomfortableforme.Forexample,witharmrotationsIwillrotatethearmtoapointbuthewillreallytrytocarrythatinto the spine and the momentum of the body.

Russellwillalwayspointoutthatyoucangofurtherwithyour body, and he is really a great support in that as he canholdyourspacebutreallystretchyouout.Hewillseethingsthatyoudon’tseeinyourself.Ithinkwithdancersthequalitythattheybelieveistheirspecialthingisn’talwaysthemostinterestingasitmaybetoocomfortable.Ifyouhaveadancerthat’strustingenoughtogivethemselvesoverintowhatanoutsideeyecanseeofthem;theycanchangeveryquickly.WehadthatexperiencewithDaniel,hehadsomeclassicaltrainingbutmorecontemporarytraining,wecouldshare things and he really trusted us both. I would give him asmallcorrectionanditwouldchangeahugeamountforhim. As that started to happen he trusted us more and more and he really believed in what was happening to him, it was excitingtoseeadancermovelikethat.HereallywentintoRussell’sstylesodeeply,itwasgood.

How do you think Russell’s style has evolved over time?Ithinkformethebiggestshiftinhischoreographicworkisthathehasallowedbackintheclassicalaestheticalongsidetheimprovised,martialart,yogic,anatomybasedreleasework,sonowhehasabalanceofboth.Ithinkthisisveryuniquetohim.Hereallyworkschoreographicallywiththebalancebetweenthese,ifhewantstoseealine,apulledupline,hewillthentotallybalancethiswithadropor

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acurveandIthinkachievingthisbalancehasreallyshiftedanddevelopedthroughworkingwithmyself,SylvieGuillemandotherclassicaldancersthatdidnothavecontemporarytraining.Hereallygaveusthatbalancewhichweneededtoperform his work.

Heisverygenerouswithhisinformationandtherearesomedancersthatarereallyreadytohearthatandthereare some that it passes them by for some reason. Maybe theythinktheydon’tlookgooddancinghismaterialortheydon’ttrusthisopinionortheycan’timpartitfromtheirtraining.Theonesthatdo,Ithinktheybecomeclearwithhisquality.

Can you share your thoughts on how and why he revisits works again as this is another strong trait of his work?There is something in how Russell responds to people, he neverreallyfeelslikehehasfinished,soheisusuallyreadytogoon.Thisisoftenhowhefeelsattheendofapiece.Howitends,suggeststohimwheretostartwiththenextpiece.

Can you tell me about his collaborations, the evolution of them, who he’s worked with and how those relationships have developed over time?WithMichael,Andy,Mukul,StevieandmyselfweunderstandRussellandinthatsenseit’slikeachef’sreductionsauce.Itbecomestheessenceofwhathe’stryingtoachieve,theessenceofwhatheseesinthebodyandthelight,it’saverysculpturaleye.HecanputadancerintoalightwithMichaelandthatdancercan’treallyunderstand the light, even if they have made material, they may not understand the light, how it falls on the skin or how thespeedoftheeyecantaketheinformationofthelight.MichaelandRussellhavedevelopedthisovermanyyears.When Russell himself goes into the light everyone says ‘nowweunderstandwhatyouaresaying’.Sothelightcansculptthebodybutthebodycanalsosculptthespace.Thisthree-dimensionalrelationshipishowRussell’smaterialdevelops,it’sverystrongandeasilyreadableforsomemagicalpurpose.

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When did you meet Russell? How did you begin working with him?I attended a workshop in the May of my third year at RambertSchool,whichwasheldathisstudio.Itwasabitoftherightplace,righttime,asIhadn’tbookedtobeontheworkshop,ateacherofminehadbookedtogoanddecidedshecouldn’t,soItookherplacethenightbeforethetwo-dayworkshop.Wehadanabsoluteblast,andItalkedtoRussellinthecontextoftheworkshopbutnothingmore, and he took my details but that was it.

IthenwentbacktocollegeandfinishedmydegreeandthenIgotofferedanapprenticeshipwithBernBallet,whichIdecidedtoaccept.Then,oneweekbeforeIwasduetogotoSwitzerland,RussellcalledmeandaskedmeifIwantedtojointhecompany.ItwasmassivelyunexpectedandobviouslyanopportunityIcouldn’tresist.

IjoinedthecompanyforThe Rodin ProjectinSeptember2011.ThiswasthefirstcreationIwasinvolvedwith.Ithenwent on to work with them on Still CurrentwhereIdancedTwo, Still and also the duet Still Current with Russell. Now I’mworkingwiththemforthenewprogramme,Conceal | Reveal.

What is it about his work that made you want to dance for the company? Tometheworkjustlooksreallybeautiful,it’snotnarrativeit’snotflashy,Idon’tthink.It’sjustreallybeautifulmovementinacompletemarriagewithallofRussell’scollaborators.It’ssomeoftheonlyworkIseewhereyoudon’tfeelthatanythingisacoincidenceoralastminuteoptioneverythingsitsverynicelytogetherandmakesreallybeautifulpictures.Thewaybodiesmoveintheworkisunique.Youcanseeapieceofmovementinthechoreographyandyouknowit’sRussell’swork.WhatmakesRussell’sworkstandoutformeisthekindofflowandnaturalbodymovementwhichisalwayspresent,the kind of openness in the shapes and openness in the performance.

What do you believe audiences are attracted to in his work? There’salotofhonestyintheshows,andIthinkthisismaybe a reason why people want to see the work. I think theyfindthemovementquiteorganic,notnecessarilysimplistic,butitislikeanexpandedversionofeverydaymovement.Ithinkpeoplerecogniseaflowinthemovementoralengthofthearm,buttheymightnotrecognisewhatexactlyitisthat’sspecialaboutit,andwhat’sdifferent

Carys Staton - Company Dancer

CarysStaton,Two,HugoGlendinning

aboutthemdoingitthemselves,andthedancersdoingit.Ithinkthisiswhatbringsaudiencesback.

There’sanawfullotofsubtletyinthework,whichIthinkhasbeenoverseeninotherchoreographersworkoverthepastfewyears.Russell’sworkreallyhonesintodetail.Thecollaboratorsmakethisgreatbigpicture,butthere’sstillsuchanattentiontodetail.It’snotaboutputtingonabigshow,butit’saboutwatchingsomeonemovebeautifully,inbeautifullighttobeautifulmusic.

Themovement,althoughitisabstract,isemotiveandIthinkthat’swhatbringsaudiencesbacktowatchit.IthinktheaudiencescomebacktoRussell’sworkasopposedtootherabstractcontemporarydancebecauseitgivesthema feeling without a narrative.

In what ways do you feel you’ve developed as a dancer, creatively and technically, from working with Russell?IthinkRussellandDana’sdepthofknowledgeisjustmad!Idon’tthinkI’lleverfeelIknoweverythingtheydo.Icouldworkwithhimfor20yearsandneverknowallthestuffthathehas,it’sanendlessbankofinformation.

Hisknowledgeofanatomyandfasciallinesinincredible.Ontopofallthat,hehasallthespiritual‘BodyMindCentering’approach,soit’ssuchakindofmarriageofthosetwothings.Evenafterthreeyears,wetakeclassandthere is still new information and new ways to think about doinganoldmovement.Russellmakesusswitchourmindset and perform in a different way.

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Ihavelearntalotaboutopennesstochangingandlettingmybodyfindnewwaysofmoving.Ithinkthere’sahugeamountofperformanceskillswe’velearntinthecompanywithouthavingalessoninperformanceskills.Obviously,having Russell performing alongside us until now has been amazing.Tolearnfromsomeonewhoisstillactivelydoingit,issuperspecialandtoseeitinactionwhilsttryingtodiscoverthatforyourselfisspecial.

Wetalkalotaboutfindingauthenticemotionandperformancequalityinthebodyshaperatherthanitbeingputon,soyou’reneverin‘performancemode’.Sofindingtheplacewhereevenifyou’reimprovisingbyyourselfinthestudioit’sgotthatqualityisimportant,evenifthereisn’tanaudiencepresent.Itshouldalwaysbepresentandauthentic.

IthinkintermsoftechniquesbothRussellandDanawereclassicallytrainedandthemovementisstillquiteclassicalintermsofmakingbeautifullines.Othercontemporarydancecompaniesareaboutbreakingtheselinesdown.Russelliscommittedtomakingbeautifullinesbutratherthanusingtheclassicaltechniquetoinhibitormakethemovementlimited,heswitchesitandmakesthetechniqueallowadancertoexpandandgrowwithit.

There’salotofemotionbehindRussell’sabstractmovement.Whenwe’reinthestudioandyouseethem(DanaandRussell)danceit’sincredible,toseethemmovingtheirarmfromAtoBdoingexactlythesamemovementastheotherdancersbutonelooksgreatandtheotherdoesn’t,it’sfindingthatquality,it’saconstantsearch!

Can you describe a typical day working with the company?AtypicalConceal | Revealcreationdaywillbeginatthestudiospending20minuteswarmingourselvesup,stretchingetc.gettingintoourownbodies.Thenwe’lljointogether as a group and Russell will lead a one and a half hourwarmupworkshopfocusingonadifferentaspectofbodyworkorfasciallinesandwe’llgoreallydeeplyintoonethingfor40minutesorsoworkingonittogether.Russellmaybehandsonwithitandwe’lldiscusswhatwefeelaboutit.Thatwilloftenleaddirectlyintoimprovisationonthatfocus,andthenplayingwithcrossingthespace,ormovingthebodythroughspace.

That will then lead onto a broader improvisation, maybe revisiting things from an earlier rehearsal or adding onto materialratherthanloosinginformation.We’llplaywiththatforawhile.Wemayimproviseincontactworkifwe’reworkingonapiecewithcontactinit,suchasBroken Fall.

Thenwe’llgoontolearningrepertoire.Ifit’snewtous,orlearning material off the video, we may develop material ormakecorrectionsifwearecomparingourmovementtotheoriginalcast.Laterwe’llmoveontothecreationofnew material based on an improvisation. We may revisit whatwe’vebeenworkingoninclass.ImprovisationsarefilmedforRusselltolookbackatandseewhathelikes.Hemaybegineditingandswitchingstuffabouttryingoutformationsorpiecingsectionstogether.Wemayberunningthingsorconcentratingoncleaningmaterial.

IhavefoundworkingwithRussellthatthecleaningprocesscomesmuchnearertothepremiereofawork.Fromthebeginningit’smoreaboutplayandexperimenting,andthiscontinuesupuntilthelastminutewhenitbecomesthefinalproduct.

Could you describe Russell’s choreographic process from your perspective? How does he introduce initial ideas?They are usually based around the anatomy or the body, but for The Rodin Project we used a huge number of visual cues,booksonsculptureandseveraldocumentariesaboutRodin. We all went to The Rodin Museum and saw the sculpturesandwatercolours,thiswasapartofhisprocess.

How does he develop and edit material? RussellusuallyeditsworkusingfilmbuthehasuseditlessinthecreationofConceal | Revealtolearnbackmaterial.We used it more in Still Current.Heusuallyfilmstwentyminutesofimprovisationandthenhe’llcutthattogetherusingFinalCutProandthenwe’lllearnthenewmaterialback.Hecanmakeanentireduetinthisvirtualworldandthenwewilllearnallthematerialback.

How does he prepare his dancers for a performance?Russell emphasises breaking down the wall between the audienceandthedancer,lettingtheaudiencereallyseewhat you are doing. Dana talks a lot about not putting onafrontoractinginanyway,justbeingpresentinwhatyou’redoing.Theworkevolvesalotduringthetoursotheperformancealwaysfeelslikewe’reonourtoesanditfeelsnew.Ican’tthinkofwhensomethingfelttotallyinmybody,asit’salwaysadifferentpartneroralittlestepthatchanges.Russelltalksalotabouttheimportanceofseeingthethoughtprocessinaperformersoifthere’sanimprovisationinapiece,tohavethedanceronstagelookinglikethey’representandnotonautopilot.Therefore,everythingisaconsciousdecision.

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Are there still improvised sections in his works?These are minimal. When we premiered the duet Still Current therewasawholeimprovisedsectionoffourminutes,butbythefinalperformancethewholepiecewasset.Soevenwhenwe’reperformingaworkit’sstillpartofaprocessofalwaysdevelopingapiece.MaybeRusselldoesn’tknowwhatthefinalpiecewillbeuntilit’sbeenperformed for a while.

How does he work when he is re-working an earlier piece?Using Twoasanexample,youcanputDana,Sylvieandmyselfdoingexactlythesamemovementandwewillalllookcompletelydifferent.Russellletsthedancersgoontheirownjourneywiththepieceknowingtheyarethinkingaboutwhathe’ssaid,evenifitlookscompletelydifferent.

Russell works very collaboratively with Michael Hulls. Are you involved with this collaborative process at all? If so, in what way?It’skindofablessingandacursethatI’veworkedwithbothofthem,astherelationshipbetweenthemhascompletelyshapedhowIwanttoworkmyself.Eventhoughthere’snotadirectconversationbetweenMichaelwiththedancers,theimpactofthelightonthebodyandthespaceandseeingthatonvideoandseeingthatonyourcolleaguesbecomestotallypartoftheprocessforeveryone.Findingthelightandshadowandhowemotivelightcanbe,isveryimportant.Itshouldn’tbeanafterthought;everyoneinthecompanyfeelsitisequaltothemovement.

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Tocomplementthecontentofthisresourcepack,pleasefindbelowfurthersitesandsourcesprovidingadditionalinformationandinterviewswithregardstoRussellMaliphant’swork,creativeprocessandartisticcollaborations.

Background and Training

Monahan,M.(2015).RussellMaliphant’sConceal|Reveal,Sadler’sWells,Review:aneveningofdazzlingphysicalpoetryThe Telegraph [online] Available at: http://www.telegraph.co.uk/dance/what-to-see/russell-maliphants-conceal--reveal-sadlers-wells-review-an-eveni/

Barnett,L.(2008).PortraitoftheArtist:RussellMaliphant,choreographerTheGuardian[online]Availableat: http://www.theguardian.com/stage/2008/mar/25/dance

Brannigan,E.(2001).Maliphant:shapingspacewithbodiesandlight.RealTimeissue#41pg.26Availableat: http://www.realtimearts.net/article/issue41/5569

Constanti,S.(1996).Dance:Unspoken;ThePlaceTheatre,London.Theindependent[online]Availableat: http://www.independent.co.uk/arts-entertainment/dance-unspoken-the-place-theatre-london-1342051.html

Craine,D.(2005)Dance:GuillemandMaliphant.TheTimes[online]Availableat:http://www.thetimes.co.uk/tto/arts/article2403114.ece

Drew,W.(2014).Stilllines.ExeuntMagazine[online]Availableat:http://exeuntmagazine.com/features/still-lines/

Hulls,M.andMaliphant,R.(2013).Body:Languagetalk–MichaelHullsandRussellMaliphant:BodyLight.

Hulls,M.andMaliphant,R.(2015).Sadler’sWellsConceal/RevealPressRelease[online]Availableat: http://www.sadlerswells.com/press/press-releases/2015/09/conceal-reveal-russell-maliphant-company-sadlers- wells-26-28-november/

Hutera.D.(2003).RussellMaliphant.DanceEurope.DecemberIssue.

Khan,M.(2014).RussellMaliphantInspiringArtist.YAA;InterviewedbyMariaSaschaKhan[online]YouTubeAvailableat:https://www.youtube.com/watch?v=mCJ5BhAah5c

Mackrell,J.(2012).Bringthepoise:RussellMaliphant,Rodinandhip-hop.TheGuardian[online]Availableat: http://www.theguardian.com/stage/2012/feb/01/russell-maliphant-rodin-hip-hop

Mackrell,J.(2015).RussellMaliphantCompanyreview–trippinginthelightfantastic.TheGuardian[online]Availableat:http://www.theguardian.com/stage/2015/nov/27/russell-maliphant-company-conceal-reveal-sadlers-wells

References

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Movement Language

Anderson,Z.(1995).DanceontheFringe.DancingTimes.Octoberissue

Brannigan,E.(2001).Maliphant:shapingspaceswithbodiesandlight.[online]RealTimeIssueno.41pg.26Availableat:http://www.realtimearts.net/article/issue41/5569

Brown,I.(2014)Q&A:MichaelHulls.TheArtsdesk[online]Availableat: http://www.theartsdesk.com/dance/theartsdesk-qa-lighting-designer-michael-hulls

Craine,D.(1998).Braveryandbeauty.TheTimes[online]

Keefe,M.(Archives:November2014).Thelife-affirmingdanceofRussellMaliphant.[Online]TheJoyce.Availableat:http://www.joyce.org/2014/11/

Mackrell,J.(2012).Bringthepoise:RussellMaliphant,Rodinandhip-hop.TheGuardian[online]Availableat: http://www.theguardian.com/stage/2012/feb/01/russell-maliphant-rodin-hip-hop

Maliphant,R.(2015)ChoreographicsLiveTalk[online]Availableat:http://www.ballet.org.uk

Seaver,M.(2014).ImaginativeMaliphantMoveswiththetimes.TheIrishTimes[online]Availableat: http://www.irishtimes.com/culture/imaginative-maliphant-moves-with-the-times-1.1795512

References

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Creative Process

Brown,I.(2014).Q&A:MichaelHulls.TheArtsdesk[online]Availableat: http://www.theartsdesk.com/dance/theartsdesk-qa-lighting-designer-michael-hulls

Clarke,A.(October,2013).‘RussellMaliphantmovesdanceoutoftheshadowsintothelight’EastAnglianDailyTimes[online]. Available at: http://www.eadt.co.uk/home

Hulls,M.andMaliphant,R.(2013).Body:Languagetalk–MichaelHullsandRussellMaliphant:BodyLight.

Joyce.org.(2014).‘Stillcurrent:thecreativeprocessofMaliphantandHulls’.[Online]Availableat: http://www.joyce.org/still-current-the-creative-process-of-maliphant-and-hulls/

2015.Roy,S.(2009).Stepbystepguidetodance:RussellMaliphant’,TheGuardian[online].Availableat: http://www.theguardian.com/stage/2009/jun/04/guide-dance-russell-maliphant

Michael Hulls

Brown,I.(2014)Q&A:MichaelHulls.TheArtsdesk[online]Availableat: http://www.theartsdesk.com/dance/theartsdesk-qa-lighting-designer-michael-hulls

CultureWhisper(2015)Conceal/reveal:RussellMaliphantCompany.Availableat: http://www.culturewhisper.com/event/view/id/5115

Hulls,M.andMaliphant,R.(2013).Body:Languagetalk–MichaelHullsandRussellMaliphant:BodyLight.

Sadler’sWell’swebsite(2015)MichaelHullsAssociateArtist.Availableat: http://www.sadlerswells.com/about-us/people/associate-artists/michael-hulls/

Design — Andrew Lang www.anglepd.co.uk

References

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