13 August 2010
By
Lydia Gibala
filed under
Edge of night, From the studio
With his new work Halcyon premiering on the mainstage in less than a fortnight, Tim Harbour has made a seamless transition from the top ranks of The Australian Ballet to the role of fledgling choreographer. We chatted to Tim about Halcyon and how he balances the excitement and hard work involved in his courageous career shift.
How did you come up with the title for your piece and what is it about?
Halcyon is the name of the lead character in a Greek myth. She falls in love with a mortal and they anger the Gods. He is killed and she redeems his body by transforming into the Halcyon, a type of kingfisher.
You drew inspiration from a Greek mythological love story. Where else do you draw inspiration from?
While I was thinking and working on this ballet I turned to works by Martha Graham, for the way she told stories through strong theatrical choreography. I’ve often thought of Graeme Murphy for the same reason. I also read about the art of the playwright and the structure of plays. I also looked to the stage and costume designers, and I collected a gazillion images that helped us to formulate visual ideas. Read the rest of this entry »
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26 July 2010
By
Lydia Gibala
filed under
Costume, Edge of night
Veteran costume designer Anna French continues to amaze us with her exquisite and, in the case of Molto Vivace, cheeky garments. We spoke to Anna about her collaboration with Stephen Baynes on Molto Vivace and she gave us some insight into the intricacies of costume design.
You’ve worked with Stephen Baynes before on 1914 and Requiem, both distinctly different to Molto Vivace. What most heavily influences the style of your designs?
I have designed the costumes for seven of Stephen Baynes’ ballets and they were all very different. Sometimes there was an established narrative, other times we were interpreting the nature of the music. My costume designs are influenced by the choreographer’s style, the choice of music, the size and nature of the performance space, the set design and the particular dancer who will be wearing the costume.
Do you watch many rehearsals prior to designing the costumes?
I try to watch as many as I can. It reinforces my connection with the choreography, allows me to visualise the costume in motion and realistically review the demands made of the garment. But, most of all, it allows you the privilege of witnessing the development of the choreography.
The music in Molto Vivace is by Handel who composed music around the 17th and 18th centuries, and yet the costumes are quite modern and funky. Can you talk about how Handel’s score fits with the costumes?
Stephen had a very particular attitude to the music which really influenced both the set and costume design. There was a formality on the surface of the music disguising a mad frivolity beneath. I tried to echo this in the costume designs in particular with the eclectic fabric choices, colours, and the silhouette. Read the rest of this entry »
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