Author: Jim Carroll, Chairman, BBH London
I attended a talk by the top Royal Ballet choreographer and dancer, Liam Scarlett. He is only 26, but he has already choreographed two exceptional ballets for the main stage at Covent Garden. And he still finds time to dance in the company.
Scarlett was discussing how he approached creating his 2011 work, Asphodel Meadows, around a particular piece of music, Poulenc’s Double Piano Concerto. One could be intimidated, he said, by the scale and complexity of the Concerto. Where to start? How to break into the task? Whereas with narrative ballet there is a natural sequencing to follow, with an abstract work there is no obvious entry point. He explained that his own process was first to identify the ‘epicentre’ of the music, its emotional core. He knew that if he could just design the pas de deux around a particular romantic passage in the second movement, everything else would follow. Having got to the emotional heart of the music, he could work outwards to the rest of the piece.
I am often in meetings nowadays when a Client demands an idea that is media neutral, that extends across every channel, region, product and form of engagement. All the colours, in all the sizes. Such a panoramic demand can be rather intimidating. And I have found that telling the Creative Department we need to cover the walls with ideas is not entirely helpful.
I suspect that, following Scarlett’s lead, the key to cracking this kind of challenge is not to consider it in its totality or in the abstract. Ideas tend to be born in the specific. The key is to find the epicentre of the task, to find its emotional heart. (more…)