week three, key practitioner lesson one - 'In Countenance of Kings' by Justin Peck

'In Countenance of Kings' by Justin Peck presents timeless classical technique, with dynamic, electric and vibrant execution. The combination of the military precision of the corps de ballet and unique, melting transitions, allows each phrase of movement to become an explosion of energy and passion in this freeing piece. Peck's innovative choice of dancing in trainers, in contrast to the decaying setting of the grand, abandoned building, gives his choreography a modern and current feel, leaving the viewer feeling inspired and exhilarated. The opening of the piece is powerful and engaging, with only the breath of a female dancer lying on the floor, however this is quickly interrupted by a sudden eruption of the joyful and electrifying music, building up to the compelling choreography that awaits.

The piece can be seen as a story of freedom, escapism and finding yourself, as the dancer who is alone, breathless and deflated in the opening, becomes driven and exhilarated after taking down her hair and dancing without restraint or hesitation. It may also be showing how after reflecting on yourself, as the dancer does when looking at herself in the mirror, you can realise how you have been closing yourself off to a variety of possibilities. Once the dancer is launched into a new setting, she scans her surroundings, finding light from the window and an array of dancers to connect with, perhaps showing that she becomes aware of what is possible for her to achieve when she just moves freely and remembers why she is so passionate about what she does. The fact that the dancers wear different costumes, makes the piece seem authentic and as though the dancers have been brought together by chance and by their love of dancing. However, they are all subtly connected by the muted colours of their costumes, which blend seamlessly with the pale walls of the hall. Alternatively, the piece may be giving the message that the dancer is confused and unsure of what path to take in her life, due to the sharp and unexpected changes of direction and somewhat random formations, which create a sense of chaos and disorder throughout the dance.

There is an effective use of repetition in Peck’s piece, as certain sequences are danced over and over, but become more powerful and striking as the corps de ballet grows with each repetition. Furthermore, the piece is full of highlights, as there is never one main soloist and the viewer’s focus is constantly changing. For example, when all the dancers are crouched down on the floor a soloist temps leves and emboites down the centre of the room with attack and vibrancy in a pivotal moment in the music, however she is quickly absorbed again by the corps de ballet and the viewer is left awaiting the next highlight. 

In addition, the variety of camera angles helped to intensify certain movements and dynamics, such as zooming in on the inspired and joyous face of a dancer and then suddenly panning out to reveal the whole corps de ballet opening their arms expressively. Although some may say that these close camera angles caused some of the choreography to be lost, I enjoyed being given a more detailed insight into the dancer's raw emotions. The dancers’ unison and identical attention to detail when in movement provides order and precision in contrast to the frantic and sudden transitions, in which the dancers run with a sense of purpose and determination, suddenly exploding into their next phrase of movement.

The use of resistance and breath were particularly effective, as the dancers held on to every last extension before moving on to the next, creating stunning lines and beautiful projection. The continuation of release and relaxation throughout the piece provides the perfect contrast to the expansive and confident port de bras used by Peck.

Justin Peck, 'In Countenance of Kings':
Youtube.com. (2019). YouTube. [online] Available at:  
https://www.youtube.com/watch?v=yMTv_Y0Zrl4
[Accessed 10 Nov. 2019].