Ongoing

these bones, this flesh, this skin


Developed in collaboration between Scottish Ensemble and Scottish Dance Theatre, these bones, this flesh, this skin is a digital work for solo violin and solo dancer by composer Martin Suckling, choreographer Joan Clevillé and cinematographer Genevieve Reeves. Through a bespoke online platform, the audience is invited to combine different audio and visual layers to decide how they want to experience the work in multiple iterations.

Born out of a unique period in our lives, the piece explores how heightened attention can reveal different experiences of time in our bodies and the environment around us. This layering of simplicity and complexity also manifests in the way that you are invited to make decisions. With every new iteration you can discover new perspectives, new nuances waiting for you in the spaces in between music, cinematography and dance, between the traces of our own memories and the aliveness of our attention.

Create your own experience…

Experience Online

Free to access at any time - create your own experience and explore all 21 versions of this new work

The Trailer

A taste of this new digital work for solo violin and solo dancer exploring how heightened attention can reveal different experiences of time in our bodies and the environment around us.

Production Credits

  • Music composed by
    Martin Suckling
  • Violin
    Jonathan Morton
  • Dancer
    João Castro
  • Choreography
    Joan Clevillé (in collaboration with João Castro)
  • Cinematography
    Genevieve Reeves
  • Costume Advice
    Matthias Strahm

What the creatives said…

Although we were unable to meet each other face to face, we developed a kind of creative camaraderie which allowed the piece to grow in ambition and depth. So much material was shared in this virtual studio: music and dance sketches, drawings, photos, improvisations, technical diagrams, musings and thoughts. I think we developed our own way of working together, adapting and responding to the circumstances. (Jonathan Morton, Artistic Director of Scottish Ensemble)

Creating this piece of work felt like a direct response to the world around us ‘shutting down’ and with every stage of the process came the realisation that even when nothing happens there’s still movement, there’s still music, there’s still life. (Joan Clevillé, Artistic Director of Scottish Dance Theatre)

The music was written alongside the dance and filmography rather than prior to it: we found a shared vocabulary and sent each other snippets of music, film and dance to work from; I improvised violin lines to rehearsal footage and reshaped structures to respond to the rhythms of draft cuts of the film. (Martin Suckling, Composer)