Australia's Emerging Dance Artists

Introducing...
Alice Wagstaff

Adelaide's Alice Wagstaff, graduate of Western Australian Performing Arts Academy, is a budding new choreographer on the contemporary dance scene.

Recently debuting a groundbreaking full length work with choreographer Chris Hewitt - The Art of Communication, for Adelaide's Fringe Festival, Ms Wagstaff's fresh choreographic style and flair for artistic direction is proving her to be an artist to watch.

Alice began full time dance training at Sheila Lang's Academy of Performing Arts, now Elayne Cherry Dance Centre, when she was seventeen, culminating in a six week European tour which included training with prominent European dance companies. After graduating from Sheila Lang's Alice studied at WAAPA where she completed a Bachelor of Dance, working with inspiring choreographers Fiona Cameron, Sue Peacock, Justin Rotzou, Reyes Delara and Peah Leach.

Kirsty Duncan, Adelaide based dance teacher and choreographer had the pleasure of reviewing Art of Communication. Recently she has also enjoyed Alice's choreography in her pieces for Ausdance's Choreolab and Move Through Life Dance Company, titled Alone Together and One Man and a Whole Lot of Nonsense.

The Art of Communication

The Art of Communication was a two price work choreographed by Adelaide based Alice Wagstaff and Chris Hewitt. It explored the universal theme of communication through two pieces named The Loss of Senses and Body Language.

The Loss of Senses was sweet, lighthearted and entertaining. It was simple and effective, short and straight to the point. Telephones and gaffer tape over the ears and mouth were used as props to symbolize unsuccessful and blocked communication. Failing to get through on the phone represented failing to effectively communicate, demonstrated with lighting and carefully planned staging that enhanced the message. The use of telephones provided simple, comprehensible imagery and symbolism that was easily grasped by the wide audience. Through their movement the dancers cleverly displayed the frustration we all feel when we are struggling to be heard.

A humorous and unexpected switch from the use of a telephone to a banana in the last scene brought laughter throughout the audience. The dancers portrayed confusion in an appealing, cute manner, delivering the final lighthearted comment that perhaps it is all 'a bunch of bananas' and not so important anyway.

Alice expressed The Loss of Senses as 'I lose my sense of normality when I can't communicate. However, losing your senses does not necessarily mean no-one understands you, you just find another way to express yourself. Most of life is about communicating - or is that just a load of bananas?'

Choreographed by Chris Hewitt, Body Language explored the use of our bodies in communication through a bar scene. Without words, communication was expressed through the body, asking the question 'how do you portray yourself through the way your move?' Alice Wagstaff and dancer Jo Naumann played two ladies vying for a male's attention, through the contrast of bold, forward movement and a coy, subtle approach. A struggle was played between the two, with their different communication styles, finishing with a beautifully danced solo portraying the emotion of the situatio, by past Tasmanian Ballet Company Principal dancer Laura Trevor.

Both pieces were performed by stunning very capable dancers on the small Star Theatre stage. Skilfully the choreography made the most of the area given, without ever appearing limited or restricted.

Alice's Thoughts…

What led you to create 'The Art of Communication'?
I wanted to give the dancers I worked with, as well as myself, an opportunity to perform. I had an idea for a show that I wanted to explore and I knew that it wouldn't leave my head until I saw it realised on stage, and, what better time for a show than The Fringe?

How do you feel it was received by the audience?
I was extremely pleased with the audiences' response. I felt like the concepts we explored in the performances were received well by the audience. I also feel as though everyone enjoyed themselves. I heard from various people that it could have gone on for longer, however, I like things short and to the point and hate nothing more than boring an audience.

Name some 'stand out' choreographers that you have you worked with. How have they shaped your work? What skills would you like to take and develop from these choreographers?
Sue Peacock was one choreographer that I really enjoyed working with. Her movements felt comfortable with my body and I felt like although she was the choreographer she also let us own the movement. Peah Leach also stands out, simply because of the energy she puts into her creations.

I think there is no one choreographer that has specifically shaped me but, rather, having worked with a variety has allowed me an insight into the many different ways you can approach a work as a choreographer. It really helps to have dancers who feel good in the movement you give them and who can create my way of moving with out being too uncomfortable.

How do you think your past training and experiences have shaped your choreographic style? With out all the choreographic training I received at WAPPA I don't think I'd be able to create anything of substance. It's really good to have a whole bag full of tools to reach into - especially if I'm finding it difficult to get the idea out of my head and on to the floor - I just keep pulling them out till I get what I want. I also really like to create emotionally based characters in my works which I feel has come from my interest in acting.

Do you choreograph with a specific plan, or do you like to see works evolve and take on their own life? I generally always have direction. I get an idea, then I get a notebook and start writing. Things develop from here. I never really know where it will end but that seems to always come to me just at the right time.

If there was one dance company that you could work with, who would it be? Do you have plans to work with any of Australia's leading companies? I'd love to work with William Forythe. He's an incredible choreographer. I'd just like to watch him work from the beginning of a process to the end because the end performances are filled with so much intricacy and detail that watching behind the scenes would be a huge insight.

What are your plans for the future? Future works? Touring? Overseas Experience?
What will we see next from Alice Wagstaff?
I'm dancing in a work choreographed by Chris Hewitt for the South Australian Living Arts Festival in August, then I'm heading to Japan in November. What comes after that I'm not sure but I already have ideas brewing that will have to come out eventually, maybe they will burst open in Japan!

Do you have any specific themes or concepts you would like to explore with dance?
I really like to create works that someone who isn't necessarily familiar with contemporary dance can still comprehend and be touched by. I'm not interested in only targeting an audience of dancers, the more people I can get to enjoy contemporary dance the better. Concepts come to me usually whilst I'm experiencing them in my own life, and I feel the need to interpret and demonstrate them, maybe that's just the way I deal with the world - oh my poor audience, I'm using you as therapists!

Advice for young aspiring choreographers?
When you have an idea don't stop till you see it, there's always a way to get it on the stage, and you don't want to have it stuck in your head for the rest of your life!

banner photo courtesy of www.flickr.com DWinton P1010045ryy