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a Master teacher for workshops
and conventions in Sydney, Cairns, Byron Bay, Perth, New Zealand,
and LA.
Read
her interview below…
Describe your choreographic
style?
My style is a real mix. I studied classical ballet throughout
all my training and partnered that with Contemporary techniques
such as Graham Technique and
Release. I also studied, Jazz, Hip Hop, African, Alexander
Technique, Circus, Modern and Lyrical. And then later in my
training years I pursued acting both training and professionally.
So after 23 years in the arts community and 12 years as a
working professional my style is one big fat fusion of all
of the above.
Do you begin a work with
a strong idea and vision or do you like a work to emerge and
take form as you go along? Where do you get your choreographic
ideas?
It's actually a culmination
of both. My inspiration initially comes from life around me,
my world, my family, friends, joys, tragedies, nature, people,
whatever is going on.
Music is then the next step, but
this kind of happens simultaneously. I find music enters my
life through many different avenues, radio, cafes, family
and it often fits the creative space that I'm working from.
At that point I will then further research music, but initially
I let it find me.
Partnered with these two experiences,
I begin to workshop my idea, bounce it off a few people and
fellow artists from dance, as well as other mediums and friends.
Once I have an overview of my concept I begin to put together
my soundtrack, and then I just listen to the soundtrack over,
and over, and over again. I let it really get in me. My choreography
is really music driven. When I was younger I had the opportunity
to work and perform a lot with live musicians so I think that
left a mark with me and I am truly grateful for that.
Next part of my process is getting
into the studio and working with an assistant or dancer and
fleshing through some movement. I like to have a feel and
general direction for my choreography and concepts before
commencing rehearsals. Then once rehearsals commence I spend
some time talking to my dancers about my concepts and direction,
show them the music and teach the first parts of choreography.
I give them a copy of the soundtrack and ask them to listen
to it and start to get their own sense and story for the work.
Throughout the rehearsal process I will workshop movement
and concepts with the dancers and then towards the end of
the process I pull the reigns in and begin to tighten and
clearly define all intentions.
Tell us about your work in
'Short Sweet and Dance'. Where did you get the ideas? How
did it come together? Describe the work. How was it received?
I was recommended
to put a work together for Short and Sweet relatively late
in the build up as there was an opening in the program. I
was extremely honoured and jumped at the opportunity. Olivia
Ansell (the Festival Director) came out to see one of my rehearsals
with Pulse8 and liked my work, so I began work on a piece
straight away. I had been playing with an idea of 'tug of
war' and through a few work-shopping discussions I developed
an idea of having dancers wearing gum boots, but having their
feet stuck to the ground. The dancers don't actually realize
they're stuck until half way through the piece and I wanted
the audience to come to the realization at the same time.
My intention was for the work to be comical. The piece was
called 'In the Moment'.
I worked with a set designer and
we used two pieces of ply-wood and drilled holes through the
gum boots into the first piece of ply wood which had to be
secured with a metal panel. We discovered a lot during rehearsals,
as the dancers managed to rip through the plywood with the
screw still attached to the gumboot so we added the metal
panel and second piece of ply at the venue as the screws could
potentially damage the tarquette, but it also made it a lot
stronger and secure for the dancers.
It was an exciting challenge to
discover what range of movement we could achieve whilst having
your feet stuck to the ground. The dancers were just amazing,
(Sam Agnew, Anna Doherty, Sydney Smith, Natalie Pelarik and
Daniel Baker). We ended up on the ground twisting backwards,
falling to the ground, lying down and overall the piece was
a complete success. The audience loved it, we received lots
of giggles and positive feedback and people had no idea the
dancers were literally stuck. I received two positive reviews:
"A memorable performance" Daily Telegraph
"A standout performance, funny and abstract"
Australian Stage
Tell us about your work for
Pulse8? Where did you get the ideas? How did it come together?
How was it received?
My work with Pulse8
was called 'Freeway'. It is about the twists and turns in
life, how at one point in time your life can be heading in
one direction and then out of nowhere everything can change
and you're heading in a new direction. It's about the various
paces in life, sometimes smooth, slow and easy, sometimes
fast, out of order and chaotic. It's about knowing we have
options, choices and many roads that we can choose. Freeway
also represents individuality, finding that voice within yourself,
getting in touch with the part of you that is you, and unique
to you, and getting that out and expressing it in a brand
new way.
I partnered these concepts with
literal 'freeway' symbols. I used 3 lanes (corridors of light)
in my lighting, and a lot of the choreography traveled in
and out of these lanes. There was an interlude in the show
where the dancers impersonated the sounds and noises of roads,
cars, and traffic. Throughout the movement I created frozen
images that represented both the emotive and symbolic parts
of freeway. All of these concepts were mixed and twisted into
a relatively quirky and once again funny upbeat piece.
I received a lot of positive feedback
from the audience members, friends and people from the dance
community. I was extremely happy with the dancers' commitment,
focus and enthusiasm (Anna Dougherty, Hannah Sherwood, Adelaide
Eastley, Dale Polglase, Caitlin Bartlett) and that was reflected
with a very high performance level every night of the season.
How did you enjoy working
with Pulse8 Dance Theatre as a new and emerging dance company?
I have thoroughly enjoyed working with Pulse8. Kay
Armstrong (Artistic Director of Pulse8) is such a strong,
passionate, creative, experienced voice, artist and woman.
Being part of her team has been inspiring and liberating.
Pulse8 is a safe place for young,
talented, emerging dancers to be mentored, guided and exposed
to the leading and emerging choreographers in Australia. It
is a place to grow, develop, learn and be challenged. It is
a runway where dancers get a real shot at taking off into
the industry. It is a wonderful initiative from Stella Maris
College Manly, and could not be what it is without Kay and
the wealth of knowledge she brings.
What does the future hold
for Sarah-Vyne? Goals, plans, new works on the horizon?
I am very excited
about 2008. I have been invited to choreograph a work for
DirtyFeet in their 2008 showcase 'Under the Weather' showing
in August. Further details to be confirmed. I have already
started brainstorming some crazy ideas, with rehearsals commencing
in February.
I will be Assisting Kay Armstrong
with Pulse8 in an 'Artist in Residence Internship Program'.
This involves everything from administration to creating.
I would like to create another work for Short Sweet and Dance.
I will be continuing teaching at Wesley Institute, TAFE and
the 'A Moment to Shine Program'.
My plans are to grow, create, connect,
learn and seize any opportunity that arises.
Who and what companies would
you like to work with in the future?
Chunky Moves, Fondue Set and many more but I'm still working
that out.
How can you make a difference
in the Australian dance industry?
I believe the arts make a way to connect and reach people
on a deeper, soul/spiritual level. I believe in always giving
something on that level to my audiences and cast no matter
what or where it's for. We have a gift that is so precious;
to give of ourselves, our talent, our ability, our emotions
and I don't take that lightly. I want to leave people with
a sense of joy and hope. That they may know they have been
a part of something greater than themselves, the creators
or the stage and that they have taken part in a soul exchange.
Sarah-Vyne is a passionate
young artist that believes in seizing every opportunity, teaching
people all that she has learnt and continuing her own creative
process, as student and creator. Look out for her work!
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