A Linha Curva: Dance for camera

A Linha Curva: Dance for camera

Sure, here it is:

Staging and Set

  • The stage in ‘Artificial Things’ is flat with a non-naturalistic set designed by Jon Bausor.
  • Props like scattered chairs are used, which portray a feeling of chaos.

Choreographer’s Approach

  • Choreographer Lucy Bennett’s approach involves working closely with the dancers, utilising their unique physicalities.
  • Movement is often initiated from a physical impairment of the dancers, making each movement unique.


  • The lighting is delicate, atmospheric, with lots of shadows that create a sense of mystery and melancholy.
  • There is a spotlight on the wheelchair dancer as he dances a duet with Laura Jones.


  • There are five dancers in total, four of whom have physical disabilities.
  • The dancers’ relationship to each other is a significant part of Artificial Things, with various duets and interactions throughout.

Aural Settings

  • The aural setting is a haunting and atmospheric mix of music.
  • The use of silence is prominent, enhancing the tension and emotions in the piece.

Dance for camera

  • The dance for camera is distinctive with creative cinematography and expressive camera movements.
  • The use of close-ups brings certain dance movements into high relief, and emphasizes the dancers’ expressions.

Performance Environment

  • The performance environment is a traditional proscenium arch stage setting.
  • However, Stine Nilsen and Lucy Bennett often stage their dances in the round, as seen in Artificial Things.

Movement Content

  • The movement content is unique and challenging, incorporating elements of contact work, improvisation and physical theatre.
  • All the movement is derived from the dancers’ unique physicalities, making ‘Artificial Things’ a wonderful example of inclusive dance.