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creaturesofprometheusDance is perhaps the oldest art -- when you walk in rhythm with your heartbeat you are close to dance. Choreography is the art of arranging movement in time and space. Even if a work is performed in silence, it is only dance when it contains the elements of music, particularly rhythm.

 

The most essential element is the dancer. Sometimes a creator in dance may envy a writer or a painter, who can work in solitude with materials that don't have changes of mood or fluctuations of interest or energy … or do the colours on a palette begin to argue amongst themselves from time to time? Although the human instrument is fragile, it offers qualities that artists in other mediums would envy, because each performer in modern dance is trained to offer creative possibilities to the choreographer.

 

Often, the creator of a work needs only to suggest feelings, ideas, or style and the dancers begin to produce physical vocabulary that, with organization and revision, generates a work from the inside out. Not all choreographers avail themselves of this method -- some prefer to prepare movement phrases privately and teach them to the dancers.

 

So, the choreographer's tools are the highly evolved living instruments entrusted to them, an awareness of the elements of music and an ability to arrange bodies in motion in space. There is something of the sculptor that is needed, and something of the architect.

 

My way is to drown myself in the music. I listen all my waking hours, and sometimes beyond, to the music I am to visualize. My goal is to find the exact complement to the sound in movement -- something which does not distract from it, but illuminates it so that someone discovering the music for the first time, with the addition of physical images, absorbs it as they would on the third or fourth hearing.

 

All creation requires a leap of faith. There is no direct connection between reason and art. This is undoubtedly why it is so often held in such suspicion. This is also where art connects with the sacred. We were given all the materials and the imagination to enhance paradise. Perhaps because we have denied the fact that every individual is born with a unique gift to deliver, we have destroyed that garden into which we were born. The suppression of expression is the root of anger. We have never seen a world in which every human gift was received and nurtured.

 

I like to go into the process of creation like a blank page, a white canvas, with few concrete ideas but with a flood of energy from the music, waiting for the impending release through the collaboration with my dancers.

 

I've worked with my current company for six years, and they are my muses. Desire is an essential part of all creation, and I have been in love with the precious, fragile, powerful individuals through whom I speak, and whose voices I seek to realize and liberate.

 

Sometimes I have to face the realization that most of my works are lost -- even those few that were videotaped have disappeared. I cannot wait for the time when the arts are appreciated and embraced, and for dance to be recorded in print by our writers of substance. But despite these challenges, because of the life element unique to dance, I am grateful to have been chosen by it.

 

The writer, the painter, the sculptor, the architect, the musician and the composer have all left lasting achievements. But they did not embrace their materials of creation as I have done after a performance, feeling their pounding hearts and knowing they have survived an arena where their honesty, their hard-earned physical and psychic powers have entered directly into people's lives as surely as blood can be passed from one living being to another.

 

David Earle, Elora Festival Program Note, 2001

 

Click on 'eye icon' for an image of the work, original program notes and an excerpt from the book, David Earle: A Choreographic Biography.

108

L'Histoire du Soldat

2000

124

Strip Show

2002

109

Horizon

2000

125

Piccolo Teatro or Self Portrait as a Drowned Man

2003

110

night/Summer

2000

N

126

Jesu, Meine Freude

2003

111

The Creatures of Prometheus

2000

127

Sealevel

2003

112

There Was a Song

2000

128

somewhere i never travelled

2003

113

Richot Mass

2001

129

The Merman of Orford

2004

114

Tango for String Quartet

2001

130

The Death of Enkidu

2004

115

Meridian

2001

131

A Farther Shore

2004

116

Dirait-on

2001

132

The Heart at Night

2005

N

117

In Spite of and Because

2001

133

The Bridge of Dreams

2005

118

Le Minotaur

2001

134

Collecting Light

2005

119

A Play of Light

2002

135

Only 2 For 4 In 5

2006

120

King David

2002

136

Barn Dance

2006

121

Zoroaster

2002

137

Pavanne From The Sleeping Beauty

2006

122

The Reproaches

2002

138

Shalom

2006

123

Vanishing Perspectives: parts one and two

2002

N

139

Partings

2006

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2007, Dance Collection Danse
David Earle Exhibition Curator: Michele Green
Web Design:
Believe It Design Works

RicotTN

Graham McKelvie and The Tactus Vocal Ensemble in Richot Mass, 2001

InSpiteTN

Suzette Sherman and Michael English in In Spite of and Because, 2001

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INTRODUCTION

 

EARLY YEARS

 

TDT YEARS

 

DtDE YEARS

 

PIECES OF HEART

 

LIST OF CHOREOGRAPHIC WORKS

 

MUSING

 

WORKS

 

MUSING

 

WORKS

 

MUSING

 

WORKS

 

MUSING

 

WORKS

 

MUSING

 

WORKS

 

DCD HOMEPAGE

 

ENCORE! ENCORE!

 

PAGES IN HISTORY

 

CREATIVE TEAM