Ronnie Curran 

 

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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.

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 Centre 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 centre 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.

Hetty Loman 

Hetty Loman was a member of the studio in Manchester at this time and came to Laban Movement via her theatre and drama background though not dancer trained she had a serious appreciation of the classical technique and the modern school but in the main she was modern dance orientated. Her end of term offering was to the Bach Toccata and Fuge for three female and two male dancers for which I was one. After a skeleton of the work was made Lisa Ullman then principle of the studio came to view it and with the assistance of Ullman further work was made on the women's section and for me was memorable and in hindsight could only have been created but for the Icosahedron. Titled " Song of The Earth " and would convey seeds of the earth about to grow and swell into the fullness of summer and light -that is how I would describe it then -and now.

The opening section for the women was placed centre stage and began from positions kneeling low and bent to the floor, their section began in the upper body, as pulses changed to impulses through the torso-which in turn brought the arms, wrist and hands into play. Axis inclinations led to swaying as a traced circuit became evident-eventually to grow and manifest into a scale-expanding till the momentum brought them up onto their feet and as if impelled they went into a turned version of the same scale leaving us with an almost dervish like impression.

There were no pauses and some exacting work was required from the women i.e. maintaining their unity through out as well as timing the dynamic changes-these difficulties were hidden by the sheer fluency of the piece and was near spectacular. Another example of the European school ,which was to please my aesthetic appreciation in dance.

" Song of The Earth " became part of a repertoire of works by Hetty Loman, who went on to found and direct " British Dance Theatre".

My thanks for all those numbers: Ronnie Curran.

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