9. Practitioner Study 2

(Burrows&Fargion, 2019)

Both Sitting Duet (2002) is a piece choreographed by Jonathan Burrows, in collaboration with composer, Matteo Fargion. Burrows and Fargion are sat on blue chairs, near each other, with notebooks by their feet (Burrows and Fargion, 2003). Both Sitting Duet (2002) is in a trilogy of duets which blurs the boundary between what is seen and heard, using the image of 'counterpoint assumes a love between the parts' (Burrows&Fargion, 2019).

Link To Watch

 

The piece starts with Burrows and Fargion each performing intricate hand gestures. Most of the movements are executed by arms, hands, and fingers but towards the end they incorporate legs and feet while using vocalisation. They switch between moving in unison, and in a ‘question and answer’ style. Movements are repeated multiple times, some are repeated the same each time behind while others are executed with greater emphasis and attack. This is shown by increase upper body movement, sharper dynamics, and more percussive impact. As an audience member and dancer watching this piece I was kept highly interested and intrigued throughout the piece due to this repetition and detailed, intricate gestures. Valerie Briginshaw (2005) argues that repetitions in ‘Both Sitting Duet’ are productive rather than reductive as the repetitions are “never the same” (Briginshaw, 2005), while André Lepecki described Burrows’ work as reductionist.

‘Both Sitting Duet’ and ‘The Stop Quartet’ feature repeated movements however the quality of these is contrasting. Burrows also used repetition in ‘The Stop Quartet’ which was equally as effective, despite different movement styles. However, the relationship between the dancers is different between the two pieces. In ‘Both Sitting Duet’, both men are sat relatively close to each other, seemingly having a conversation through their actions, despite not looking at each other. Whereas, in ‘The Stop Quartet’ the dancers have a relationship through the movement, but they move around each other and explore space and dimension. This makes the piece a more familiar concept as space and travelling are an expected feature of dance. I believe this is what makes ‘Both Sitting Duet’ so intriguing and clever. Limiting the use of space and full body movement has enabled Burrows and Fargion to create an intricate and innovative piece of work which resonates and connects with the audience. Limitation is a process which Burrows discusses in his book ‘A Choreographer’s Handbook’ and is one which I have used myself within my own choreography. For me, it challenged me to push the boundaries of my creativity by taking away preconceptions and ideologies I had regarding how I ‘should’ choreograph.

 

There is no music, so the emphasis is placed on the sound created by their bodies moving. This is heard by hands brushing against trousers, hitting the legs, the chars creaking beneath them or complete silence during gentle placement of some hand gestures. The performance along with the silence has a comedic impact, you can hear the audience laughing along with some movements or facial expressions. 

(Burrows, 1995)

‘Both Sitting Duet’ was choreographed equally between Burrows and Fargion unlike other works such as ‘The Stop Quartet’ which were choreographed by Burrows and had music commissioned by Fargion. Both ‘The `Stop Quartet’ and ‘Both Sitting Duet’ were influenced by scores. Burrows says he struggled with scores when using whole body movements as the rhythm is more evident when using one body part, such as punctual gestures on ‘Both Sitting Duet’ and feet in ‘The Stop Quartet’ (Burrows, 2005). He uses scores to prepare for rehearsals and to overcome the need to memorise and to avoid “holding onto an image” while performing (Burrows, 2005, n.p). Burrows’ score book from ‘Both Sitting Duet’ features directions for movements such as twist, flick and brush which is similar to section 2 of my choreography which uses words and emotions to influence movement. Additionally, there are numbered sequences which are placed in a random order which dynamics and speeds labelled to them. This idea influence section 3 0f my choreography where I created a set of movements and repeated them in a random order. This was particularly effective in my piece and effective in Burrows’ work, as mentioned previously.

(Burrows, n.d.)

(Burrows, n.d.)

Jonathan Burrows’ work challenges theories around dance, using meticulously calculated processes, developing scores to assist movement creation, with a cultural, social and conceptual depth. His work connects to huis audiences and evokes “human empathy” (Domm, 2008, n.p).

Reference list

Briginshaw, V.A. (2005). Difference and Repetition in Both Sitting Duet. Topoi, 24(1), pp.15–28.

Burrows&Fargion (2019). Both Sitting Duet (2002). [online] Vimeo. Available at: https://vimeo.com/361765765#_=_ [Accessed 21 Jan. 2022].

Burrows, J. (n.d.). Both Sitting Duet Score Book. Motionbank. Available at: http://lab.motionbank.org/jbmf/score-books/?book=BSD&perf=JB&blank=1# [Accessed 23 Jan. 2022].

Burrows, J. (1995). Scores. jonathanburrows.info. Available at: http://www.jonathanburrows.info/bestanden/fotos/6128812b26a1f0fa1877a825514b1f15.jpg.

Burrows, J. (2005). Jonathan Burrows on Scores. [online] Available at: http://olga0.oralsite.be/oralsite/pages/Jonathan_Burrows_on_Scores/ [Accessed 21 Jan. 2022].

Burrows, J. and Fargion, M. (2003). Interview on Both Sitting Duet with Donald Hutera. [online] Available at: http://www.jonathanburrows.info/#/menu/?p=interview&t=submenu [Accessed 21 Jan. 2022].

Domm, D.P. (2008). Jonathan Burrows and Matteo Fargion’s Both Sitting Duet (2002): A Discursive Choreomusical Collaboration. [online] Springer Link. Available at: https://link.springer.com/chapter/10.1057%2F9780230584426_8 [Accessed 21 Jan. 2022].

Kaaitheater (2007). Both Sitting Duet. [online] Kaaitheater. Available at: https://www.kaaitheater.be/en/agenda/both-sitting-duet [Accessed 21 Jan. 2022].

Lepecki, A. (1999). Skin, Body, and Presence in Contemporary European Choreography. TDR/The Drama Review, 43(4), pp.129–140.

Mackrell, J. (2004). Both Sitting Duet, Clore Studio, London. [online] The Guardian. Available at: https://www.theguardian.com/stage/2004/nov/18/dance [Accessed 21 Jan. 2022].

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