#artificial things

[thefugitivesaint]

Jim Burns, 'Artificial Things' by Karen Joy Fowler, 1989 Source

[paperbacks4today]

PAPERBACKS FOR TODAY # 12 : wanderers and busy-bodies all the way down in new cornucopolis

You know chocolate is pretty good when you least suspect it. Anyway…

Those in question…

Artificial Things by Karen Joy Fowler, Bantam 1986, art by Tito Salomoni

The Feast of St. Dionysus by Robert Silverberg, Berkley 1979

Change the Sky and Other Stories by Margaret St. Clair, Ace 1974

The Best of Hal Clement, ed. Lester del Rey, Del Rey 1979, art by H.R. Van Dongen

And for a(nother) fun bonus:

Divide and Rule by L. Sprague de Camp / The Sword of Rhiannon by Leigh Brackett : Tor SF Double No. 17, Tor 1990, art by A.C. Farley (D&R) & N. Taylor Blanchard (SOR)

[lilybtaylor3]

Artificial Things Qs p. 5

the final part also for some reason I call the davids by their surnames sometimes now idk but makes sense I guess or just only hire one fcking david idk 

Artificial Things Q5

Describe the pathway/ direction that Amy and David W wheel Laura back to.

David and Amy wheel Laura out in a circular but diagonal pathway from USC towards downstage right before curving round to DSC to go back to USC. They then travel straight back down the same pathway from USC to DSC before turning in two small anticlockwise circles so that they are facing DSR.  

Amy repeats and develops the circling arm gesture and the group perform a high release in unison. Amy then wheels Laura back from DSR and USL. Laura repeats a series of reaching movements. How is Amy then supported by Laura in her chair?

The trio are centre stage and Amy is kneeling in front of Laura’s wheelchair. Laura has her right hand on Amy’s right shoulder. She then pulls on Amy’s right hip using the same hand so that Amy puts her weight on Laura’s lap as David rocks the chair backwards. Amy is in the same exposed, mannequin-esque position seen before between her and David in their duet. Laura’s neck is supported by David’s right hand; David is sitting with his legs folded behind the chair to rock it towards him.

Describe in detail the movement phrase performed by David and Amy in terms of Action, Space and Dynamics up to the point where David W makes contact again with Amy’s chair?

As David corrects the chair, he uses his left foot to manoeuvre himself into a deep lunge facing DSL with his right foot forward and palms on the floor.  Meanwhile, Amy comes down from Laura’s lap and slowly turns anticlockwise to face USR. David stands to join Amy as they  shift to travel upstage; they step onto their left leg and hold their arms out to the side at shoulder height with their focus to USL before pivoting on that leg and descending into a plié, keeping the other leg straight as performs a rond de jambe using that leg to bring it to the side so that they are in a sideways lunge as their arms move in front of them. Their focus is switched as the pivot is performed to be over the left elbow. Then, they transfer weight on their extended right leg and pivot once more so that they face DSL with their left leg behind them so they are in a shallow lunge. As this is carried out, they straighten the left arm out to shoulder height and swing it down anticlockwise whilst increasing flexion at the right knee. They join their feet together and stand straight while the momentum of the arm swing continues so that their arm reaches almost 180 degrees before it falls passively to the side. Following this, the right leg is tucked into the chest at the same time as the right shoulder rises. They both step back with a slight body ripple towards USR with the right leg which brushed past their left supporting leg to repeat the shift and following actions. However, instead of passing their right leg back, they step forward and place their hands on Laura’s shoulders.

As Laura turns her chair, describe the pathway performed by Amy as she runs.

Amy runs in a wide circular pathway.

Describe in terms of action, space and dynamics, the phrase performed by David.

David is stood at USL and is facing stage left. He hops on his left leg crossing his right leg over the top relaxed, with his right arm reached out to stage right and left arm bent at shoulder height  towards stage left. He then steps onto his right heel and switches focus to stage left. He then switches his focus again to USR as he turns on his right leg, bending his left leg as he brings it over his right to step into a lunge, facing stage right. As he pivots, his arms switch to mirror what they were before. He then turns so he is facing upstage. He continues his turn so he is in the same lunge on the other side. Finally, he leans back with his upper body, keeping his legs still before moving to lift Amy.  

Describe how David lifts Amy.

Amy is wrapped in a fetal position around David’s back and right side with his right arm around her waist and his other hand holding her legs from behind her knees. They are USL and move in a wide arc towards USC.

Laura, David and Amy regroup upstage right. Describe the gestural phrase performed by David. Where have we seen a similar image before?

The trio regroup upstage right and David brings both his arms up sideways so they are parallel above his shoulders. He then holds this position, reminiscent of the when he performed a similar gesture in a restrictive manner around Amy earlier in the piece.

Describe the accompaniment at this point and the rocking image that Amy performs.

The accompaniment is falling piano notes over a low, clinical humming. There are sometimes a few higher notes which brings an atmosphere of eeriness and fragmented calm. Then Amy performs a rocking gesture when she is stood USL; she pitches forward and swings both arms and her right leg behind her with flexion at the knee and elbows. She then swings both forward using the momentum of the first swing in a pendulum-like fashion as she contracts her arms and right knee into her chest and brings her body upright.  

Describe in detail the phrase performed by Amy or the phrase performed by David.

After she has finished her rocking motion at USR she does a step-ball-change forward towards DSR and extends her right arm as if propelling Laura forward along the diagonal from USR to DSR as Amy loosely brings her right leg with flexion at the knee behind her in opposition. The relaxation in her leg then goes as she swings it passed her supporting leg into a high kick with a straight leg as her left leg bends into the motion of the kick. As she kicks her leg her right arm circles in a anticlockwise circle parallel to the floor from being directly in front of her at shoulder height to behind and at a 45 degree angle to her body; she also contracts her body as she kicks. She steps onto the ball of the foot she has just kicked and keeps her focus and body facing downstage left before changing her focus and alignment to stage right as she pivots on the ball of her right foot and flicking her left leg over the top with flexion at the knee. She steps towards USR before performing a hitch kick with a bent right leg coming up first before her extended left leg. During this jump her arms swing up above her head with flexion at the elbows; similar to the prone, mannequin-like position from earlier. After this kick, she replaces her right leg with her left in a soft low sideways gallop and, as she step to the right, circles her body and arms to the right as well and bends her knees to allow her to enter a backbend on the floor. She continues this circular motion so she exits the backbend by removing her right arm and twisting to the left before bending her knees so she drops her pelvis. She then stands up and spins on the flat of her right foot and draws her left foot in so her feet are shoulder width apart and she has moved from facing USR to DSL.  

Amy and David perform a phrase in unison. Describe this phrase in terms of action, space and dynamics.

They both run on a diagonal pathway from USR to DSL before doing a plié in second, relaxing their body over their legs with their right arm sweeping the floor and left arm held up slightly. They transfer their weight to their left foot as they straighten their legs from the plié without raising their upper body as their left swings up behind them in an illusion with flexion at the knee and a straight supporting leg and their bodies come up and their focus goes to USR as they come out of the illusion into a single turn on a flat left foot with the right leg relaxed straight down next to the left. They finish the turn with their feet towards USL but twist so that their body and hips are facing USR and their arms wrap around their waist before they put their weight onto the back of their right foot before turning their head over right shoulder and turning that way so that they can run on a diagonal pathway from centre stage to DSR.  

Describe Laura’s translation of this movement phrase.

Laura’s translates this movement phrase as she travels on a slightly rounded diagonal pathway from downstage right to USC and, as David and Amy plié, she begins to gracefully turn her chair so she is banking from facing between USC and USL to facing more towards USR. As David and Amy move into the illusion, Laura releases her right arm and sends it behind her in mimesis of the movement of David and Amy’s legs. As David and Amy come up and pirouette, Laura tilts her head to the left and circles it round to the back before whilst slightly moving her upper body so she is performing the same head roll as David and Amy.  

Describe the direction that Amy and David perform a forward roll.

David and Amy perform a forward roll on a diagonal from DSR towards USL and finish their roll centre stage.  

The music builds in pace and the dancers move around the space in a chaotic manner. Describe the lift that the dancers perform to take Laura’s weight. How does this echo the earlier lift with Amy?

David and Amy lie on their backs DSR with their feet towards USL with David lying to the right of Amy who lies down first. Laura leans backwards towards Amy who supports her with her left hand on Laura’s left shoulder and right hand in the centre of the back of her chair. David rapidly slides to the floor next to Amy to help support Laura with his right hand on the back of her neck and his left next to Amy’s on the back of Laura’s chair. This echoes the lift between the trio at the beginning of the section where Amy sat on Laura’s lap as they both leaned back into David who supported, once again, Laura’s neck and her chair.  

The counterbalance lift is then repeated DSL. The dancers move into and out of the space. David W repeats the perpendicular lift again, close to David Toole. How does David move as they recreate the portrait?

As they create the first portrait David T shifts slowly to the left so he is directly above the trousers that match the jacket he is wearing that are on a stool in front of the centre of the vitrine that is overturned USL.  

Describe in detail the various tableaux that are created. They are very powerful. How do you think the audience feel at this point?

In the first tableau, Willdridge is sitting on the stool that is furthest stage right, the next stool towards stage left is occupied by the suit trousers that Toole is sitting directly behind. Amy is sitting on the next stool along and Laura is to Amy’s left. Amy, Willdridge and Laura all have their hands resting on their thighs and their focus straight forward and out towards the audience while Toole is using his hands to support himself on top of the vitrine and his focus is towards DSR. For the next tableaux, Amy moves forward so she is crouching on the floor in front of the stool she had been sitting on with her left knee into the floor and her right slightly raised and Toole moves onto the seat she had been on; Laura and Willdridge both turn out so they are facing away from the rest of the group. Amy, Laura and Willdridge all have their hands resting on one thigh, one hand on top of another but Toole has one hand on the stool next to him and his right arm resting in a relaxed way on the vitrine above the trousers where he had been during the first tableaux. For this tableau, all the dancers have their focus to separate places; Amy’s focus is up and out towards left side of the audience, Willdridge’s eyeline is raised towards DSR, Laura’s eyeline mirrors Willdridge is the same way as her position does as her eyes are raised towards DSL and David T has his focus lowered to DSC. The third tableau depicts Laura centre stage left, straight on to the audience with her left hand on the left wheel of her chair and her right hand resting on her right thigh. Her eyeline is straight forward to the audience and there is a determined set to her face. Willdridge stands behind her with his body facing DSL and his head out to the left of the audience. He has his left arm folded into his chest with his elbow out to the side and hand fisted by the buttons of his shirt in the centre of his chest and his other hand is pressed behind his back at the same height with the elbow to the side. Toole is still sitting on the same stool as he was on during the second tableau but has repositioned himself so he is turned towards DSL with his hand crossed in front of him on the chair with his right on top of his left and his focus in the same direction of his body; past DSL to the audience. Amy is standing slightly separated from the rest of the group as she is standing by the edge of the vitrine closest to stage left with her body tilted slightly away from the audience. Her focus is to DSR and she is the only one to not have their focus towards the audience in some way. Her hands are resting on the corner of the vitrine. The next tableau shows Toole centre stage left with his hands in front of him as they support him. His body is straight on and his focus is lowered towards the audience. Laura is closely behind David T and slightly to the right of him and has her chair parallel to the front of the stage and her hands resting on either side of her on her chair. Her head is turned towards the audience and her focus is raised towards the left of the audience. Amy is standing behind and to the right of Toole and has her body towards DSR but her head turned so it is raised directly to the audience. She stands very upright and has her arms folded behind her back as she stands in a powerful and commanding stance. This is juxtaposed to the proprietary left hand that Willdridge, who is standing behind her and to the right of her, slides into the crook of her arm. His body is angled straight on to the audience and his focus is to the top corner of DSL. The final tableau shows Toole centre stage left facing DSR with his arms bent at right angles with his forearms resting palms down on the floor in parallel next to his body. Everything, including his focus, is to DSR. Laura is in front of the stool that Willdridge was sitting on in the first tableau and is angled towards DSL. She used her hands to cross her right leg over the top of her left and has her hands resting one on top of the other on her right knee. Her body is relaxed and her spine is slightly curved in and her head is tilted towards her left shoulder with her focus to DSL. Amy is back on the stool she was on in the first tableau and has her legs relaxed and spread slightly apart with flexion at both knees. Her legs are towards stage left but she has twisted her upper body to face more towards centre stage so her legs are at an angle to the audience. Her back is curved in so she is sitting in a relaxed manner and she has her right hand resting across her right thigh and her left hand resting over her right wrist. Her head is twisted and leant slightly backwards so her eyeline is towards DSR. Willdridge is stood in front and to the left of her with his back turned towards the audience. He has his hands in the same position as during the third tableau; his left hand is folded into his chest with his elbow out to the side and his right hand is in the same position just behind his back rather than in front of his chest. His chin is lifted and his head is turned so his focus is lifted towards DSR. The lighting across all the tableau has been cold, blueish side lighting with a white spotlight over the vitrine where the tableau takes place.  

[lilybtaylor3]

Artificial Things Qs p.4

here we go again

Artificial Things Qs Part 4 

1) Describe the gesture performed by Laura Jones as she reaches for the floor. 

She is facing upstage and tentatively reaching towards the floor with her right hand, eyeline also focused on her hand. 

2) Which dancers run and slide to the floor to reach her DSR? 

David Wildridge and Amy. 

3) Laura Jones turns by circling the wheelchair twice. Where and by whom have we seen a circular pathway being executed? 

David Toole moves in a circular pathway at the beginning of the piece before he starts to perform his contact duet with Laura. 

4) Laura Jones wheels herself towards USL. Describe the gesture that she performs with her arm. Where is her focus and how do David and Amy complement/ translate her movement? 

As she rolls forward she sweeps her left arm in front of her with her finger pointing forward but her wrist relaxed and weighted. Her focus follows her wrist as it rises upwards. Although both Amy and David are crouched behind Laura on the floor, they both have their right arm outstretched and their heads and focuse follow that of Laura's focus. 

5) As Laura wheels back in retrograde towards DSR- How does David W travel backwards? (i.e. what is his translation?) 

David has both hands on the wheelchair wheel and without impeding its motion, he allows it to guide him in a roll along the floor. He keeps the movement very fluid and smooth whilst focusing on the centre of the wheel and then rolling up into a crouch. 

6) Laura develops the reaching hand gesture. What has changed in terms of pathway/ use of additive/ incorporative as a choreographic device? 

Laura is rolling towards USR and this time she sweeps her left arm over her shoulder in a wide arc as if reaching for something.  

7) David W rotates the wheel of Laura Jones’ wheelchair to travel. Describe the accompaniment at this point. 

Very wistful and dreamlike but still in the minor key. There are repetitive piano notes, reminiscient of a waterfall or pouring motion. 

8) Laura repeats the gesture and David W repeats the rolling. The dancers are upstage centre and then move the wheels of the chair to move to DSC. Describe the development of the arm gesture at this point. 

The gesture is now a literal reach towards Amy or David Wildridge alternating each reach. It s used to weight share and promote relationship. 

9) All three dancers roll/ spin picking up on theme of a circular pathway. Describe the gesture that they all perform. 

Both Laura and Amy perform the looping sweep gesture with their right hands, Laura's lingering slightly longer as she follows her hand down with her eyeline. David Wildridge simply rolls his left shoulder as he spins backwards with the wheelchair. 

10) Laura travels towards DSR and Amy and David repeat a position from earlier. Describe this. 

They are both crouched in a lunge behind Laura with their right arms outstretched and focus just beyond Laura's head. 

11) David pulls Laura towards him in a counterbalance. Describe another moment in the work when there is a counterbalance.  

There is lots of counterbalance between Amy and David Wildridge during their duet. 

12) Where do the trio travel to next? 

They travel to USR facing the front on a light diagonal towards DSL. 

13) The levels of Amy and David have changed. Describe how they develop through instrumentation, the reaching gestures. 

As they travel forward, David kicks his right leg up behind him in attitude and slowly controls it back down and Amy and Laura both repeat the left arm sweep in an arc above their heads. 

14) They reach towards DSR and then travel Upstage Centre. Describe the gesture that Laura traces behind her back.  

She has both hands flat on her lower back, palms facing outwards then traces them back to her front past her hips as she rolls forward upstage. 

15) Describe the lighting change as the performers continue to move Upstage Centre.  

It gets a lot darker, casting shadows over Laura Amy and David. 

[lilybtaylor3]

Artificial Things Qs p. 3

omg I can’t remember where in the dance it is, near the beginning I think but THE HAND THING omg I can't its so creepy if u know u know but THE HAND fuck I hate it watch it and you’ll know what im talking about the haND uugggh shivers run down my spine

Questions on Artificial Things 3

As Amy steps down from the set, where does David move to sit?

On a stool, imitating the mannequin next to him.

Before Amy walks towards Laura, where does she look?

She slowly turns her head back towards David.

How does Amy move to sit next to Laura?

She walks calmly and purposefully and crouches momentarily next to her before simply stretching out her legs.

David T travels in a circular pathway and David W crouches to the floor. David T performs a movement that we have seen earlier. Can you describe this?

He uses his arms to lift himself off the floor and onto Wildridge's back, placing his right hand on it and heaving himself sideways as Wildridge turns towards the front.

David W then spins. Where does David T move to?

He slides off Wildridge's back and uses his slight momentum to roll away from the group to stage left.

David W and David T then perform a counterbalance and David T moves in closer to David W.  

Okay.

Where does Amy then manouevre Laura to?

She helps Laura position herself on top of Wildridge then assists her in rolling down him to end up lying in front of him.

Laura then rolls between the two David’s. How does this echo an earlier image?

This echoes the image earlier in the duet between Toole and Laura when they lie next to each other with their hands on their chests

Amy takes Laura’s chair and sits on David W’s back. Who does she then pass the chair to?

David Toole.

Describe the contact improvisation section that then takes place between all four in terms of Action, Space and Dynamics.

Amy also 'rolls' over Wildridge but it is more controlled and she is not rolling on him she is actually leaning on Laura and carrying herself over him. Amy pulls herself to sit up by holding Laura's wrist and Amy, Laura and Toole clump together as Wildridge rolls over them on his back with Toole supporting his head into a passive standing position facing diagonal DSL.  

As David W rolls up to stand, we see quite vividly the costume design/ colour. Where is the influence of the blue/ green taken from and how does it relate to the Stimulus?

The blue/green colours are taken from the paintings of an artist called Djurovic and are supposed to present paint running as is stuck in one of his paintings, similar to the other main stimulus that the dance is taking place in a snow globe.

David W rolls back down to the group and maneovres Laura’s chair. How does Amy travel over his back?

Helped and pushed over by Toole and Laura she does a back walkover onto him and over his back.

Describe the accompaniment at this point.

There is and underlying constant cold, ambient drone sounding like static at times with 'The sunshine of your smile' playing over the top.

We hear the sampled song, The Sunshine of my Smile. How do the group move into a tighter cluster and how is David T supported?

Laura and Amy move to sit back to back and then Wildridge lies on his back behind them with his legs folding into his body and poised by Amy and Laura's heads. Toole clambers up the cluster using Amy and Laura's shoulders to support him and then Wildridge's feet lift him up by his armpits and he soars upwards as Wildridge moves into a shoulder stand.

How does David T fall?

Wildridge carries o his shoulder stand until he is rolling backwards, causing Toole to fall and catch himself on the ground with his hands.

How has the image of mirroring been developed in terms of gender?

The two women, Amy and Laura, both lie on their elbows facing USL towards where the two men are, Wildridge and Toole, who are crouched looking at them.

Where is the focus at this point and the intention of the movement?

The focus is on eachother then it shifts to face USL as the two men move towards it.

Where does David move to and what does he pass to David W?

Toole climbs onto the black table from earlier on in the piece and Wildridge crouches and picks up a wheelchair wheel to hand to Amy. He is then handed the second wheel by Toole and hands that to Laura who is lying on her back.  

What is the symbolism of the image here as David W and Amy put Laura’s chair back together?

Working together towards a common goal and putting differences aside.  

How do Amy and David W lift Laura?

Laura rests her amrs on both Amy and Wildridge's shoulders and they support her by her legs as they lift her into the wheelchair, facing USR.

How does the lighting change at this point and what has David put on?

The lighting becomes brighter and warmer, positioned so that it doesn't cast shadows over the dancers facial features and Toole puts on a brown coat.

There is a still tableau image. Describe this in detail.

Toole is the highest, supporting himself on the table/ledge at the back and Laura is in front of him on her wheelchair, On Laura's left, Amy sits on a stool and on her right Wildridge also sits on a stool. They all face DSR.

How does the lighting and focus change as Laura exits the tableau?

It becomes dimmer and colder.

[lilybtaylor3]

Artificial Things Qs p.2

Questions on Artificial Things Scene Two 

 this was acc my least favourite out of all of the case studys ngl its so boring

Describe how a mirror image seems to be drawn by the two dancers (Amy and David Willdridge) who enter Upstage left and Laura Jones and David Toole sitting Downstage right. Look closely at their focus. Do both couples connect in any way? 

As Laura sits up, Amy enters from USL and Willdridge enters when Toole sits up, echoing the actions of the dancers on stage. Both pairs crumple in towards each other at the same time and as Toole and Laura are already on the floor, Amy and Willdridge also collapse down momentarily. 

 As the dancers move further upstage, we see the set including the mannequin in a suit. Describe how the music changes at this point. 

The music becomes more random and spiralling, switching to a minor key. It is mostly high piano notes in succession creating an atmosphere of uncertainty and underlying fear.    

 Amy and David use very expansive gestures which explore the idea of leading and following. Describe in detail their pushing and pulling movement sequence as they focus towards Stage Right. 

They come out of their crouch position and Amy's left arm follows David's right arm as they flow into an abrupt pause, in a position that initially looks like a typical waltz then they both extend their arms up and out in two fragmented jerking movements. They then follow each other's back hand downwards with intense focus to the floor then soar up in unison with David performing am wide arc with both arms outstretched to the ceiling the Amy echoing this using only her left arm. David's arms split away from their parallel position and push down into a slight arabesque. Amy seems to be affected by this and she turns to the right whilst David leans backwards and they seem to balance with David's right arm on her left shoulder with his focus down and Amy passively looking towards the ceiling.  

 The male dancer (David) nestles into Amy’s neck. Where have we seen this image performed before? 

Previously in Scene one between David and Laura, when they share an elongated pause with David nestled into Laura's shoulder, before he hoists himself up onto the wheelchair for the first time.  

 A piano chord comes in to the soundscape. How does that change the focus and orientation of the duet? 

The two dancers almost seem reluctant to look at each other and instead all of their focus is put to their surroundings, constantly looking just past the other or over their shoulder.  

 A higher lift is performed. Describe this lift in detail (Action, Space and Dynamics) 

Amy backs towards David as he backs towards DSR and Amy floats into David's arms as the transition is very calm and seamless. Amy is facing the audience with a blank expression and her arms and legs are splayed outwards yet still relaxed and David makes no reaction to her. She pauses there almost wafting slightly in a breeze as if weightless. 

 There is a gesture as the music becomes more discordant and Amy lifts David. Describe how David is lifted. 

The movement is swift but still very present, David has his right arm down Amy's back over her right shoulder and his left arm clenched in a fist around Amy's right forearm. His right leg is already bent against Amy and as the pair bend and Amy lifts him, David's left leg bends momentarily upwards to join his right. 

 David then lifts Amy, high above his head. What affect does this have? 

Amy is upside down with her legs poker straight in the air and still. This could be seen as a moment of clarity as David slowly rotates himself with Amy to face the audience.  

 David then lifts Amy onto what as the wind howls in the accompaniment? 

He lifts her onto a black table at the side of the stage. 

 We then hear which song being interwoven into the accompaniment? 

Sunshine of Your Smile. 

[lilybtaylor3]

Artificial Things Qs p. 1

why are there two Davids could they not have found somebody else

Questions on Artificial Things Scene 1

Describe the soundscape/ accompaniment at the start of Artificial Things. How does it make you feel?

At the very beginning, the first sound is a droning windy sound, reminiscent of an empty desert with tumbleweed giving the audience a sense of being alone or cast away. It could also be interpreted as an ongoing sigh, a really long exhale also evoking images of loneliness and/or sadness.

Describe in detail the physical setting- theatrical setting/ set/ props.

Laura is sitting alone on the floor with a wheelchair upturned behind her that she rests an arm on. There is also what looks like sand or sawdust scattered on the ground to her left, reiterating the desert imagery created by the wind. The wheelchair being upside down gives the impression of disarray and unkemptness, highlighted on stage by the solitary spotlight on the dancer.

How does David travel towards Laura?

He pulls himself across the floor towards her from USL however his lack of legs lifts the movement, presenting it as more of a walk instead of a drag.  

Laura reaches out to David. How would you describe the dynamic quality of their movement and how does it mirror the music?

It is very intimate yet hesitant. Both dancers seem wary or afraid but not of each other, perhaps of some other external stimulus. The music is also hesitant, comprising mainly of broken piano cords over an ongoing violin underscore in a minor key.  

Describe the spatial pathway of David before he moves onto Laura’s back.

David steps using his hands to the left, away from Laura and coaxes Laura's legs along with him with him right hand. He then turns to face USL and slowly makes his way upstage, whilst watching Laura. He holds the gaze as he walks on his hands in an incomplete circle around her in a manor that could be considered predatory, especially considering Laura's apparent disability compared to David's ability to walk on his hands.

David performs a gesture with his right hand. Describe this gesture in detail.    

David has his arm resting on Laura's wheelchair with his hand in a fist then on the piano note he unfurls it slowly, stretching his fingers whilst keeping his hand and arm tense. He then curls his fingers back but around the wheelchair.

Laura leans onto David. Where is he facing at this point?

Down Stage Right.

As David moves onto the wheelchair, what gesture does he repeat?

The unfurling of his left hand.

Laura looks happy to have his support. What do you think the intention is of the movement at this point?

The movement is slow but deliberate, creating an intimate atmosphere of silent affection. They make use of eye contact and nuzzling into each other to portray an almost primitive nature to their relationship.  

How does David move over Laura?

David hinges his body over Laura's back then transfers his hands from the wheelchair onto the floor behind Laura and he slides off her head first towards USL.

The dancers then change facing. David then retracts back to his initial starting position and Laura moves herself to face DSR. She creates a ‘ramp’ for David who manoeuvres himself back onto Laura and then onto her upturned chair. Where is his facing?

Up Stage Right.

How do Laura and David Move the chair between them?

They use a counterbalance with David behind the chair using his body weight to pull the chair downwards and Laura holding onto the chair with her left hand but not putting any weight onto her side so the chair tips upwards.

The duet then quickens in pace. Describe the focus of Laura and David as he moves onto her chair.

Laura is intensely focused on David's face and eyes. David is at first focused on Laura's legs then his gaze wanders up to meet her eyes.  

Laura pulls herself closer to David and lowers herself to the floor. Where does David touch her to support her?

He touches the right hand side of her face with his right hand and gentely lowers her head to the floor.

Laura lays herself down and David rests on top of her. How does he move her legs and where does he move to next?

David tenderly sweeps Laura's legs down in an arc to rest them in a position more parallel to her body. He then slides down her back to rest between her and the wheelchair and rolls onto his back, prompting Laura to follow suite.

Both dancers roll upstage. Where do they place their left hand?

In the centre of their chests.

There is a music change and a lighting change. Describe this.

The lighting warms and USL is lit brightly from USR. The music becomes more sombre and deep then continues at a slow but irregular tempo instating a dreamlike quality to the start of the next scene.

[slack-wise]

Artificial Things. Art at Alison Richard Building University of Cambridge 3 November 2017 – 19 January 2018 Image: Clara Turchi Rose