Gesture was the impulse that guided the creation of the graphic score. This gesture could be
the original Ligetilines inspiration of two dancers entwined in Balanchine choreography,
the musical textures that characterise the Ligeti Solo Cello Sonata, the contours of its musical notation that reflect expressive intent, the physical gestures required to play the cello, or the discreet articulations made fluid through the continuity of bodies in motion.
The Ligeti Solo Sonata together with the graphic score led choreographer Harriet Macauley
to question particular truths and realities that music and art set forth. She asked the dancers
to respond to a series of lies they told about themselves. First they were to represent these lies
through sound, and then devise specific gestures that complemented these sounds.
Below are some of the technical gestures at the cello that translated directly to the graphic score,
and indirectly to the physical gestures at right. Language always mediated between disciplines.
Here, the gerunds that helped to translate technical to visual gestures appear above the music;
above the graphic score gestures appear feeling descriptors - informed by an exploration of synaesthesia -
that I produced for Harriet. The physical gestures devised by the dancers
were the last details to enrich the choreography. Exact mirroring between music and movement
was never our aim. To emphasise this, the musical and visual gestures appear here
in the original order of musical presentation, while the movement gestures are in alphabetical order.
Hover and click with abandon!
Music: Ligeti Solo Cello Sonata (≈9’)
Art: LSCS Graphic Score (21 pgs.)
Dance: Choreographed LSCS
spatial (5 pgs.)
tangents to diagonal:
linear (16 pgs.)
use arrow keys to move between gestures
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