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Next up in our Digital Summer Season, we’d like to introduce Solo Collaborations: groundbreaking online audiovisual works, each capturing our approach to imaginative cross-artform collaborations.

Over the last few weeks we’ve been working with Scottish Dance Theatre to bring you the first of these collaborations:

these bones, this flesh, this skin

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

We’re excited that our website is now live and you’re now able to explore the interaction of different pieces of music, dance and cinematography online. There’s not just one definitive version of the piece, but a whole combination of 21 different iterations – you choose the audio and visual layers and build your own experience.

Music composed by Martin Suckling

Performance Jonathan Morton (violin), João Castro (dance)

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)

Find out more from the creative team