Ronnie Curran - Reflections

 

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REFLECTIONS

Kurt Jooss       -         Ballets Jooss     -      Remembered

On joining the Company in Essen-Verden, Germany as a soloist it would be my first introduction to the Company's daily class, this alternated between classical and modern, the modern being from principal Jooss dancer Hans Zullig which I would value more as neo-classical compared to the modern classes I had previously attended given by Bodmer, Wigman, Leeder and Ullmann, none of whom had need of the inclusion of established steps from the classical ballet system, such as 1st, 2nd, 3rd, 4th etc. and arabesque and attitude.  I enjoyed his classes as it was dance without decoration and performing his simplicity of line and shape required some perfecting and was testing.  Our classical classes were by Laura Maris and a Danish ballet master.  As a young twenty-one year old I was bold enough to question Jooss, why so much classical class work, when on stage choreographically it was very modern and inventive, especially in his newest work "Journey in the Fog".  His reply was to the point - dancers would leave his company and join other companies, therefore it was necessary for them to maintain their classical technique (but never on point).  A Jooss dance class and his own movement when choreographing was of a natural loose, broad and flowing style with a rhythmic edge to it.  It fascinated me when he choreographed and the process of how his movement eventually became formed on dancers, then to be fixed and set.  Perhaps the dancers had a similar function, initially, similar to that of a pianist who is transposing - would be one way of describing working with Jooss.  He liked plenty of time and allowed for it, to let things work in.  Some of the work in the early ballets were almost set in concrete, so to speak, and were performed to the letter without any deviation from the original.  For some dancers of the "individual school", this could be demanding and difficult - but I for one found by submitting to the choreographical design and with study would find the expressive interpretation inherent in the choreography and one could with rehearsal rise above it and make a personal performance  eventually.  The "Old Soldier" was a role I took and was a role whereby elements for interpretation were less apparent choreographically compared to some of the other roles in "Green Table", so a little was left for the dancer's interpretation with the direction of Jooss.

 

Roles  -  Interpretations  -  Favourites  -  Remembered

 

I was given the role of the Old Soldier in Green Table and would learn it from the dancer for whom I was replacing.  Rehearsals were the "raw counts" only, I was somewhat tentative and wanted more motivation/interpretation to be told that Jooss would give me that - so that meant that for my first showing to Jooss, I would just got through the moves  -  not happy!  Eventually came rehearsals with the cast.  On my first rehearsal with Death, my pathway on stage brought my directly in line and facing him.  The Old Soldier turns and postions centre stage with a movement expressing inner conflict.  I did this from facing Death as a reaction to a premonition of sorts, I asked Siimola, Jooss's wife, if I was rightly interpreting the action, she translated to Jooss, then told me to look at the Standard Bearer's flag rather than at Death for that move, as it wasn't a premonition - she rose from her rehearsal chair and did it for me - I was pleased I'd asked as the change of head angle changed the whole meaning.  On reflection, most of the Old Soldiers work is involved with the flag.  When we came to rehearse The Aftermath scene Jooss gave me " You are protecting the flag and peering through the smoke of battle"  This would become my key for the role.

The Old Soldier kneels and looks into the distance, while holding the torn and battled stained flag with clenched fists, Death rises from the darkness behind him to take him be the throat, then death's arms swoop down to snatch the flag and unclench his fists, Death raises the flag in triumph as the Old Soldier reaches and follows the pathway of the flag.  It is here, both figures raise in unison the left knees high held in a suspended gesture, as a preparation for Death's triumphant march.  I used that suspended pause as the Old Soldier's death, as I wanted to do my best for Jooss on my first showing, I followed Death triumphantly, as the music indicated.  Afterwards, Siimola, suggested I should be more passive in the death march.  Jooss said, "Perhaps, but let it settle in".  I realized she was right - it was Death's triumph not the Old Soldier's.  The scene ends with the Old Soldier's hand unclenched following the flag as they fade into the wings.

On our visit to Cambridge, a don left a poem for me at the stage door, alas it has been lost, but read along these lines "The fist that Death unclenches .......for the cause.........another fist will one day take its place".  I showed it to Jooss and he remarked  "Yes, that's what you brought to the role" 

 

Lasting

 

It must be for me the unforgettable women's scene from Table, which I watched from the wings most performances. The women flee the stage on the emerging presence of Death, the Old Woman, frail and tired, is the last to leave, but a commanding gesture from Death halts her in her stride, transfixed to the floor she tries to follow the others and tries to run with her arms and tries once again and then again until eventually she sinks and lowers her head.  The Young Girl has stayed with her and stands behind her and supports her - the Old Woman raises her hand inn a gesture of resignation towards Death.  This macabre but beautiful scene progresses as Death bides his time.  The scene ends as the Old Woman finds solace cradled in Death's arms, once more Death exits the scene triumphant with his prey.

 

Remembered

 

It was at a performance of The Green Table in Hamburg that the audience that evening must have witnessed all the roles firing at the one time as we took some twenty curtain calls, the fire curtain was brought down and we appeared through the fire door to take our last call.

 

Ballets Jooss disbands -   Dublin  1953

 

It was customary for Jooss to take a call on the last night in any city we played, it took the form of a simple walk to the green table where he would acknowledge it by resting his hand on it.  But this was a different last night as it was somewhat more final and this night he didn't appear and didn't come to the performance, instead he took his departure to Germany, leaving Siimola and the Company Manager to wind up things, he did leave us all a personal letter.  It was the general view of the Company, it may be the end of Ballets Jooss, but not of Table.

 

Remembered

 

The most lasting memory of all was the last performance of Table in Dublin - on the final cords of the tango with its plaintive melody and harmonies so reminiscent of the thirties.  The Gentlemen in Black turn to their right and left and make a polite gesture on the final chords.  From under their masks and only heard by those around the table the lasting words, Wiedersein, Wiedersein. I learnt from working in Ballets Jooss the existence of artistic taste in composition and restrain of expression and when combined in the works of Jooss, would become illuminating Dance Theatre.

 

Now an "excuse me " is in order for attempting to describe something which after all is "saying with movement that which can't be said in words"

 

Ronnie Curran

 

Sylvia Bodmer Dance Group 

I was a founder member of this group that was started in the late 1940's. It was formed from the students at The Art Of Movement Studio in Manchester and to the best of my knowledge it was possibly the first of its kind to perform in schools, colleges and small scale arts theatres in the North of England and South Scotland. Under the direction of Sylvia Bodmer the repertoire consisted of solos, duos and trios with a pianist accompanist (typical of the modern dance movement at that time with its roots derived from Europe and the Laban influence.) I recall her talks on the cabaret scene in Germany and how modern dance was such a big part of that. Sylvia Bodmer's satirical humour was included in some of the cameo dance action interpretations that she used. For example on the way to rehearsals she spotted some workmen sitting fast asleep arms folded behind a sign which read - DANGER MEN AT WORK - she used that observation as an opening scene in a dance cameo. Topical for the time she portrayed the SPIV, in The Black Marketeer   and his selling of nylon stockings could cause such desire. Some of the Kipling Just So stories were given more fantasy movement themes with voice sounds. Sylvia Bodmer's sense of fun for movement was equally enjoyed by children and adults alike as well as being well received by the theatre critics .She said in her teaching that true improvisation could never be repeated and sometimes her work would begin on a theme or starting position from which something would materialise and then be set. During this period of study I was introduced to Laban Notation which held no interest for me at that time. A few years later when I joined the Ballet Jooss as a soloist the value of this work became evident as I was asked by Jooss to record some Scottish Highland Dances with Albrecht knust at the Folk Wangle Schulle at Essen-Verden in Germany.

.Sylvia Bodmer together with Laban himself recorded " The Swings" in bound and free. Dancers interested in European Modern Dance and Teacher Bodenviesa should practice and perfect them  and I would suggest they eventualy make up their own variations and include all the permutations and use of stage space.

".The Swings "In this period Margaret Morris in the UK had composed her "Orange Scoop Step" which was -swing like-( she was independent of Laban) and her training for dancers began with getting into splits soon and regularly also getting the big toe onto the back of the head (or nearly in some cases! )- by back arching-there was also her pelvic tilts and thoracic shifts side ways -her grades were titled by colours and she worked on her remedial exercises. Her scoop step was considered slightly advanced  as it was at its high point getting the toe to nearly. touching  the back of the head from two hoped jumps and a forward transitional step-of step, step, together, on reaching the feet together the insteps were well  rolled over and heels well of the floor  on straight legs to balance. In one of Labans talks come class, come, theory, come exploration, He asked me to demonstrate Margaret's scoop step as it demonstrated  movement in the wheel plane (not all movement) and to my surprise asked the class to learn it and then execute it.-not all by any means could reach any where near its high point at the back of the head, but it revealed to me  Margaret's composition was valid at what ever the heights and levels of legs that were being performed at. Later in the 50s I spoke to Margaret about Labans interest in the scoop step -she remarked  "we are working on similar  lines but independently" she was in turn interested in his Notation. Many of her pupils had joined Jooss or Ballets Jooss. The Margaret Morris Scoop Step was set to a piano composition specially recorded on a 78rpm record. The tempi and the dynamic of the piano chords assisted  the dance sequence, and together they made a whole, considered in the early modern dance days as a virtue ,together with phrasing was almost obligatory in teaching dance variations. Vienna had Bodenwiesser and she most certainly used swings in the figure of eight designs  threw under and over the dimensional planes with the same in the legs and arms and upper  body-and with  body inclinations and even back bends-Great European Modern Dance Stuff- Note an eight like swing  or shape can start small and then expand or expand and  then shorten some movements may require the diseplin.. of equal ! .Most enjoyable were Bodenwisser  waltz's  in moderato ,brightly and importantly for Vienna waltz with a hesitation into the first beat. mostly were done on natural walking turn out as are most eight like swings. However Margaret Morris and The Vienna teacher were mainly women's dance with adaptations for men. It would take Jooss, Graham, Cunningham, and others to give male modern dance a footing even if they worked  continents apart. Before then there was always Gymnastics for a foundation and still exists, but there were schools of thought poo pooed  this approach however not in commercial dance. .Just  take look at contemporary classical ballet and how the physicality dazzles and brings bums to seats. to days modern dancers cant over look that. Now a few  Examples of swings at the barr and center.-Swings exist  in the classical system but are mainly placed and guided  because of the turn out. here are some performed in natural walking turn out and classical arms can be used to accompany them with or with out body inclinations  try  both but the tempo will adapt a bit for when the upper body inclines away from center. A live pianist is recommended   in many ways as the dancer can follow tempo given or the pianist can follow the dancer -perhaps that's to expensive these days to do -but that's how we worked at one time and it's a time ago ! Start foot back foot pointed or the toe resting on joint of the ball of the foot Brush forward and back into petit attitude (quite Low above the supporting  legs ankle, as a level gage) perform one more swing into petite  attitude forward and pause on it-with the lower leg, calf and ankle do as small develop as if placing the foot onto a shelve low and of the floor. The leg is now straight ( this is also classed as a small gesture but is develop like) lift the straight leg of the shelve upwards  (an inch or so ) this move becomes the impetuous to swing backwards into a petite attitude behind.   Arms in eight like swings. the barr or in center. Right  arm only...  begin to draw the hand into  open low at demy-second, bring the arm into conventional classical crescent placement and with inside of the whole arm pass and cross the body  describing a curve and on the movement which will adjust into fifth high pause to show this placement-now incline  the the upper body very slightly  to the right  side by shortening the waist -the arm now continues  on a curved path way  down wards (placed well in front second  )   to finish in demi-second, the back of the arm now leads to describe a loop just behind hip there is no tutu to avoid here) this is a small gesture and ripples threw the shoulder elbow and into the wrist and finishes by drawing wrist and hand into demi-second  as on the starting position .repeat several times with changes of tempo repeat left side-the head will also incline naturally  as the waist bends during this eight like configuration-its more a placed swing than a dynamic one - a true swing of the leg can be felt by standing on lower step of a stair-stand on the left leg let the  right hang down and gently let the weight of the leg swing forward and back. Figure of eight like  swings on the legs can be done at the barre by passing threw 3rd in front and back with quarter plies and more advanced work by accompanying the leg swing with arms I have already described. in counter and in unison-note  any exaggerated turn out will change  the whole character of the eight swings configuration.

Albrecht Knust using  "laban Notation" he notated several of the highland dances in 1953.

At the request of Kurt Jooss I began to work with Albrecht Knust to record a series of Scottish Dance including The Highland Fling, Shean Truhbs, Sailors Hornpipe and The Highland Scotishe. Knust wanted to notate them as reading as well as an execution exercise for some of his students at The Folwangschulle. They were written to be accompanied with the traditional tunes. Knust was in his mature years then but was amazingly sprightly and delighted in the fact that he could perform these steps and combinations very well - much to the amusement of Kurt Jooss. Knust would often appear in the rehearsal hall and beckon me out, when not rehearsing, to clarify a step and he would not leave until he had got it correct and could execute it competently himself. I was very impressed and Jooss could be seen to be highly amused by these regular appearances. At this time Knust was also notating a new ballet from Jooss called , to give it its English title " way in the fog". I recall Knust as being very observant and he would ask is it this or could it be that way, such minor differences, but he could record it either way that was most revealing about the Laban Notation system. I remember that we had a stock answer for him when these questions arose and it was " ask Jooss". I was impressed with the students performances of the notated material. Knust it seemed could continually add touches to his notes. He was always most considerate and would always say at our sessions  "tell me when you get tired and want to stop". It was repetitive work but he never seemed to tire, it gave me much pleasure to watch his delight in dancing the Scottish Dance

LABAN

Talks and classes recalled mid 1940

I can with some assurance state that I knew  more of Laban at the dinner table than in the classroom, and any gained experience on my part was via his pupils  and collaborators. I was given hospitality by Lisa Ullman and her mother at their home in Manchester where Laban was a member of the household. Consequently meal times included topic of the day and for an eighteen year old such as myself Plots from movies and theatre visits were up for conversation and some times discussion.

He would use the Magic Flute Scenario to bring attention to Classical and Traditional Theatre usages on entrances and presentation of characters-there was reference to the Commedia dell'Arte. I would point out this was not an all out attempt to replicate or reconstruct that style as of then. By now we were quite astute on combinations of dynamic qualities and special awareness including gesture, so that the short Montage like setting he would make on the principle magic flute characters would be with in our scope and interest and would reveal by example how shades of stylised movement could be utilized to make an opening scene/action. Each character was given a different set of qualities to be contained in their action and each would perform a short solo to present themselves. Moves and positions were near improvised and became fixed within the confines of their designated movement qualities. It had the essence of theatre and composition and was immediate in its varied rhythms and designs of gesture-a sketch maybe- a skeleton for further embellishment? never the less a taste of movement theatre realized by all of us on that one afternoon.
By way of contrast I will recollect attending my first class with Laban. The movement subject was Direct and Indirect-having began in Highland Dance and following that with Margaret Morris. Movement both would be considered formed and set and learned in that manner-it was some what disconcerting to have movement described without examples to copy or follow. Every one there seemed au fait with his work and experienced enough to respond to his directives in many ways-with the exception of me, I was lost and chose to observe or timidly make a move just to show willing. We eventually sat down round the edges of the studio. He would now proceed by going to each student with an individual directive i.e. Movement direct light and quick and each would have a different combination to perform and appeared to come from the students own interpretation of the instruction-he seemed acceptant of any movement that was produced. I was hopeful when he came to me, that if I couldn't and didn't understand my task he
may not be to severe- inevitably the directive came 
"Movement direct quick and strong". I am certain he sensed my hesitation and lack of response was either a nervous block or a look of help-he quickly asked ,"can you punch/fight the air" -I did- he asked me to stand up and lunge at the same time-I did-he nodded and passed on to the student next to me, much to my relief and a slight sense of completion, in retrospect I am sure my thrust wobbled a bit at the end of it and I didn't hold the position long enough to be effective. But I would eventually digest his movement components, timings and combinations and they would eventually make sense.
Then came Choreutics and Eukinetics-and here is my over simplified explanation of them or is it that I heard it somewhere? One is when the shape is more obvious than the dynamic content the other is the dynamic is prominent than the shape. As we progressed we were expected to compose a short phrase of each to be performed for all to view, this was pure observation and for that purpose and each piece would be discussed - did it achieve what it set out to be? Some times we would have combinations done were by we would identify the dynamic contents - all very enjoyable no judgmental attitudes of good and bad and no suede armchair dance critic stuff. Now came the Icossahedron and this is where I sign off having understood the dimensional scale and that's where my special study would stop. Having no means of support other. than teaching Highland Dance for Ullmanns students. Time now to move on .Not without knowing and having seen glimpses of scales and configurations that were not within my understanding as to how they came about-let alone be able to execute them, maybe one day, but for now only to be imagined and most times wrong and inaccurate from lack of knowledge - but the fascination remained.

My conclusions - Dance has its own movement, and Laban Movement is not dance, but it can be incorporated into interpretational theatre dance. The training of dance remains with the classical schools, contemporary teachers, arts and commercial choreographers, and has evolved from these sources.      Laban and movement educationalists forgot posture training as a starting point. However Laban notation is something else, and was developed by others such as Albrecht Knust, Ann Hutchison Guest and others. Today's dance trainee considering Laban - (that is what was truly his - the space and movement quality studies) should look to the archives and the few notated studies that exist there. Either by neglect or of lack of foresight they are not accompanied by musical scores. It is my view that those who compounded the work of Laban forgot the needs of trained dancers in their study of this work. It is certain that a few egos got in the way. Just because Laban Notation can record most dance styles-it doesn't mean to say that that is Laban- some are deluded by notation and its function.. Search out what was really his, and also the work of Siegurd Leeder , both when teaching used live piano. Educationalists have divided, segmented, and pirated all in the name of Laban. Never did I think I would see the day - on a late night university program - when a dancer woodenly pointed to the reference points of the Icosahedrons as movement- he would rise from the grave.

Laban Centre. Some forty years on plus eight years of TV dance numbers behind me  a change of employment work opportunity had to be given serious consideration by means to retrain. I chose Laban as I was very slightly familiar already and his use of spacial movement. modern dance was my only choice, and with a government scheme for the unemployed for one year and of study to boot I would be in my element. I was bent on learning and exploring those movement scales  and build a class structure and try my luck with all other dance teachers in the dance fringe. But under what Title  as I was also neo classical influenced after my time with Jooss. So like the good boy scout I had been and not wanting to offend the trade descriptions act I had some consultation with my first modern dance teacher Lisa Ullmann, and she agreed European Modern Dance  would be for me, but where would I get concentrated study ? The Laban Center excepted funds from the government  scheme which was my entitlement. I was rejected and doors closed on an assumption I was to experienced. and my chance of getting re trained shattered. DANCERS BEWARE of educational professionals that can mean something else to our working and ethics. I then visited a Gathering or was it a centenary?-but regardless of my experience  I was still eager to see those movement scales ,planes, swings ,volutes in action!-only to here ego trips and talks-I sank and realised I didn't belong here, and if this was study? then the trades description act  surely had slipped. But off all things I espied two ex Jooss dancers  I had been in the company with and after hugs and all and the wrest I asked him about the A scale which he promptly flew into and I clapped ....it existed after all..!..I remarked why are we not seeing it today? he replied ..I wish they would get on and move it....at this time we were joined by the caretaker of the Jooss.  Ballets and by now I was thinking in dance notation terms for my study -on the space configurations I was still able and not crotchety I asked her having been so close to Jooss what did remain of the early days when Laban, Jooss Ullmann, Simola and Bodmer  when they all came together in European dance and how much was recorded. She faced me most directly ...Ronnie it came from the dancers...My disappointment from being rejected for training at the center lifted. I was ready to leave, and I did!  My arms punching the air like kid, saying "yes its always the dancers after all". Eventually I thought on actors equity's phraseology " no one owes anyone a living" and the educationalists married to government schemes.-we should be able to trust them to be professional? Dancers please note in my case, my further training was blocked by assumptions.

A useful leg swing exercises.

 This swing was passed on to me by an ex Joose/Leeder dancer from the early days, I do it daily. I would recommend this exercise to dancers of all styles. Stand in a walking turn out in profile, on the bottom step of a staircase. Let your outside leg hang hang free and swing in a pendulum motion. Do not point the toes in the swing. The working knee/thigh bends naturally. Complete eight swings then repeat for the other leg. This is a useful exercise use either before or after a class. The weightlessness of this action has therapeutic benefits from the hip to the toes.

VARIATIONS

This exercise can also be performed with a slight turn out of the working leg and the foot pointed. A quarter plie can be added on to the supporting leg with the heel well planted onto the floor through out to assist and maintain good dancer posture and repose of the upper body. The classical correction should be applied i.e. knee directly over the supporting foot during the action. 

Other variations 

1. By turning out the working leg slightly, this becomes less of a swing and describes a figure of 8 shape. 

2. The front part of the swing can be enlarged and the backwards section smaller in action after passing through the first position and vice versa.

3. Let the leg hang straight over the edge of the step and allow the ball and toes to touch the floor. Were this a sand pit and you perform an eight shape there would be a tracing left in the sand. This can be used in center studio floor with body accompanying, spreading and diminishing , and include low arabesques, attitudes etc. 

I credit these "tracings in the sand" to Joan Goodrich teacher training , the Art of Movement Studio Manchester, 1947. the eight like shape is an inducement to movement. Apart from what I have described, much more creativity can be derived it is not just arm and leg gestures. Apart from remaining in one plane it can be divided i.e. it can start on one surface and the second part go into another plane. This may go someway to explain why so many exponents of European Modern Theatre Dance tended to be soloists or recitalists. Some interested in marrying with the classical trained body and others paying no heed to anything. Today's professional dance training i.e. preparing dancers for employment has very different aims from anything in the past, or may not have any value other than practical study for study sake.

.MICHAEL CHARNLEY. 

Dancer/ choreographer, trained with Jooss and soloist 'Ballets Jooss'. Appeared and choreographed several of the Intimate London Revues. Also 'A Girl Called Joe' (1955) the musical, starred Joan Heal. A musical adaptation of Lousia M, Alcott's novels "Little Women" and " Good Wives" opened in Manchester and played The Piccadilly Theatre London. The Ballet from this production " Amy in Europe" was noted by all the theatre critics. The Dancers Mary Allen, Betty Ash, Dorothy Buttery, Barbara Joss, Patricia Kirdshner, Diana Payne, Isla Richardson,, Joanne Stewart, Jenny Trevelyan, Lorna Wood, Ronnie Curran, Donald Barclay, Charles Schuller, Roy Evans, Tony Manning, K Mottram, Rex Rainer, Garry Smith, Robin Winbow, Mathew Winston. His Ballets for Festival Ballet Company were " Alice in Wonderland" and "Synphony for Fun" a stylist who married the classical with modern dance from Europe

 

My Pet Issues.

Perhaps someone or thing in Government will eventually address the needs of
'out of work ' dancers, and the need for a limbering or class at least once weekly. and its costs.

Hardly to say it can be done at home-there is no challenge in that and can never be
the same as a concentrated class atmosphere. No doubt those associated 

the Dept. of Employment, Benefit Assessor's, Educationalists, Arts Councils, local or otherwise,
as well as those of the mindset 'only good dancers are
 already in work' are already disappearing or going offline !

Heaven help dancers not within easy reach of a city.
Where (still at a price) class in some form or other is there.

Having stood in line for the dole/benefits and the interrogations that go with it 

prompts me to ruminate on where the money from the good and the great goes and is distributed
(i.e. the vat tax from CDS ,Theatre seats , to mention just that few) and especially those who have never worked
as dancers or what it means to be looking for work not within the confines of
stable earnings of the larger companies, but those who are freelance in the commercial areas of the
industry. (not considered performing arts by some.)

I am constantly reminded when I approach the subject of my first commercial contract,

and when over a little drink the choreographer commented there always 

has to be something for someone to do in this industry,

some thing we could all aspire to. Nice thought with some truth to it (and all that stuff!.)

For me Equity is more than just our union. Someone once said of all the professions dancers are 

the most disciplined and demanding of them all as well as short lived yet and our
needs for continuity to my mind isn't seriously addressed when not in work.

That will come about only by recognition by the Dept of Employment by means of in depth
persuasion, and arguing the case with facts and conviction.
By whom? certainly not by educationalists.

 

The Mississippi Number

My last TV appearance was in the memorable BBC series "That was the week that was," where

I was one of the guest dancers with Millicent Martin in "The Mississippi Number"

There is an edited version of this routine on You Tube.

Typical of TW3 we were still memorising and adjusting the steps up to minutes before transmission time.

As we passed her in corridors, make up, wardrobe, or the BBC canteen, the lovely Milly Martin could be 

seen having a chuckle, as she fitted a new line to the song. 

The number was staged by David Harding.

Thanks David, little did we know then - but "it is still up there"

 

My thanks for all those numbers: Ronnie Curran.

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