work uses narrative structures based on clear subject matters, for Silvestrini’s example, Dear Body (Silvestrini, 2008) looks at contemporary with body “fixations (Protein Dance, 2016a) and LOL is a on image” “commentary Facebook society” told through a group of individuals searching for companionship via social media(Protein Dance, 2016b). approach to narrative is more conventional theatrically Silvestrini’s speaking than in that scenes tend to follow a more recognisably DV8’s, Silvestrini’s linear narrative in contrast to the more abstract structure of work. Newson’s Bettina Strickler stated that important that there is a narrative aspect to “it’s the and Silvestrini specifies wanting to look at life in his work work” “real characters” (Strickler and Silvestrini, 2001, p.4) and refers to LOL as narrated through characters (Protein Dance, 2016b). Vardimon clearly positions her work as intersecting with theatre, describing her approach as adopting a theatrical choreographic and “uniquely directorial style” (Jasmin Vardimon, 2014a). She explains that she is aiming to a narrative “build which is very readable for the audience, much in the same way you would read … (Vardimon, 2001, p.2). Her pieces are based on clear subject matters, for theatre” example: she describes (2003) as being about relationship with illness Lullaby “our and (Jasmin Vardimon, 2014b); for 7734 (Vardimon, 2010) she hospitalisation” references a WW2 concentration camp type on and “hell earth” explores “our capacity for (Jasmin Vardimon 2014c) and in Freedom (2012) she explores survival” a variety of experiences and ideas in relation to the notion of freedom. characters’ Vardimon intentionally uses characterisation in her pieces, stating that in her process she gives the dancers roles and asks them adapt to different “to characters” (Vardimon, 2001, p.2) and refers to her work as being for its quirky “renowned … (Jasmin Vardimon, 2014a). characterisation”
Silvestrini’s work uses narrative structures based on clear subject matters, for example, Dear Body (Silvestrini, 2008) looks at contemporary “fixations with body image” (Protein Dance, 2016a) and LOL is a “commentary on Facebook society” told through a group of individuals searching for companionship via social media(Protein Dance, 2016b). Silvestrini’s approach to narrative is more conventional theatrically speaking than DV8’s, in that Silvestrini’s scenes tend to follow a more recognisably linear narrative in contrast to the more abstract structure of Newson’s work. Bettina Strickler stated that “it’s important that there is a narrative aspect to the work” and Silvestrini specifies wanting to look at “real life characters” in his work (Strickler and Silvestrini, 2001, p.4) and refers to LOL as narrated through characters (Protein Dance, 2016b). Vardimon clearly positions her work as intersecting with theatre, describing her approach as adopting a “uniquely theatrical choreographic and directorial style” (Jasmin Vardimon, 2014a). She explains that she is aiming to “build a narrative which is very readable for the audience, much in the same way you would read … theatre” (Vardimon, 2001, p.2). Her pieces are based on clear subject matters, for example: she describes Lullaby (2003) as being about “our relationship with illness and hospitalisation” (Jasmin Vardimon, 2014b); for 7734 (Vardimon, 2010) she references a WW2 concentration camp type “hell on earth” and explores “our capacity for survival” (Jasmin Vardimon 2014c) and in Freedom (2012) she explores a variety of characters’ experiences and ideas in relation to the notion of freedom. Vardimon intentionally uses characterisation in her pieces, stating that in her process she gives the dancers roles and asks them “to adapt to different characters” (Vardimon, 2001, p.2) and refers to her work as being “renowned for its … quirky characterisation” (Jasmin Vardimon, 2014a).