90 Ballet Choreographers Jessica Wright and Morgann Runacre-Temple on Prey Dance, film and narrative are ingeniously woven together in the work of Jessica Wright and Morgann RunacreTemple. In their new production Prey, the duo uses this distinctive language to tell a timely, fictional story about a series of ominous metamorphoses. What began as experimenting with a camera in the ballet studio has evolved into award-winning dance films and two full-length interdisciplinary productions. With Prey, Jessica Wright and Morgann Runacre-Temple – or Jess and Morgs – once again bring the dialogue between choreography and film to the stage. Runacre-Temple explains: “Film is where our collaboration began. It is embedded in the DNA of our work. We do not start with choreography and then add film later. It is a continuous exchange, a constant back and forth.” Wright adds: “Thinking through the camera has always been an essential part of our creative practice. How can choreography and film inform one another? And how can a camera draw the audience more deeply into the story?” The power of transformation In Prey, the idea of transformation forms the choreographic starting point, with Ovid’s poem Metamorphoses as a key source of inspiration. “The physical act of transforming offers endless possibilities choreographically”, Wright explains. “What makes Metamorphoses so compelling is that the changes in those stories carry deeper meaning. They are never simply about turning from human into animal. From that perspective, we began shaping our own narrative. We wanted to place it within a contemporary society and explore how fear, news and disease can spread within it.” A society under pressure The result is a story set in a modern world where more and more people begin to change into birdlike creatures. “It’s our response to how today's society is dealing with rapid change and collective anxiety”, says Runacre-Temple. “We ask: how would we cope if this were truly happening? What would it do to our closest relationships? How would it reshape our connection to society?” Wright adds: “Fear can draw people together, but it can also drive them apart.” Because Prey touches on such expansive themes, Jess and Morgs felt it was vital to offer the audience a clear storyline. Runacre-Temple: “At the heart of the story is a woman trying to understand what is happening in her world. Through her journey, we invite the audience to connect personally with the wider themes.” Wright: “We hope this will make the piece an epic, yet intimate experience at the same time.” Between human and animal For the movement language of Prey, the duo explored the grey area between human and animal. “What does it mean to be human? And what does it mean to be animal? It is remarkable how little it takes for a human body to reveal something bird-like”, says Runacre-Temple. Wright continues: “In ballet, something is often presented as either one thing or another. We are far more interested in the process of transformation itself. What happens when someone is five per cent bird, or ten per cent? At what point does something recognisably human begin to feel unsettlingly bird-like? That is much more interesting to us than asking dancers to imitate birds in a literal way.” Between human and bird, between epic and intimate Interview
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