Basic Facts Purpose of Performance Features of Performance
timulus: A love story with a
S ural Setting: An original composition by
A
horeographer
C twist—rooted in themes of love, Seymour Milton, blending electronic
James Cousins, who devised and loss, dependency, loyalty, elements with strings and piano to create a
choreographed the work longing, and memory. It explores haunting, emotive soundscape that evolves
an emotional connection that with the choreography
ance Company
D can't ultimately be sustained
James Cousins Company, founded in 2014 ostume: Stylised, everyday clothes. The
C
and the platform through which Cousins female wears a beige skirt and shirt, while
develops, tours, and engages in horeographic Intention: To
C the male wears a khaki jumper and jeans.
learning-participation programmes translate the emotional and Her lighter attire evokes celestial, ethereal
visceral energy of a live stage qualities; his darker clothing grounds him
umber of Dancers
N work (originally titled There We and highlights lines and gender contrast
2 dancers: originally performed by a male Have Been) into an abstract,
and a female (e.g., Aaron Vickers and Lisa filmic love story wherein the ighting: Utilises natural light, transitioning
L
Welham in the film version) relationship is tender yet tragic. from daytime into evening and night to
The female dancer's constant underscore the passage of time and deepen
ance Style
D off-floor position symbolizes emotional intensity
Contemporary contact work—a seamless emotional dependence, and the
blend of emotive partnering and physical male responds rather than erformance Environment: Site-sensitive,
P
interplay initiates, reflecting devotion and filmed outdoors by Scratch. The settings
emotional tension shift from remote, open landscapes to more
horeographic Approach
C intimate environments. The film frames the
The choreography stemmed from dancers initially from a distance—making
improvisation, particularly focusing on the UMMARY
S the viewer feel like a distant observer—then
idea of the female dancer never touching the The main intention is to convey moves closer as the emotional intensity
floor. Improvised material was filmed, then the narrative of the two builds. Hand-held camerawork in the final
learned back and structured to reflect characters by translating the section adds a raw, unstable feeling
emotional and narrative development emotional intensity and visceral
energy of the original stage taging / Set: While it’s a dance film rather
S
Structure show, portraying an abstract than a proscenium performance, its contexts
The work includes a prologue followed by six love story. include diverse natural locations like hilltops,
continuous sections, differentiated by shifts graveyards, quarries, woods, and long
in location, movement quality, and music, grass. These evolving settings mirror the
forming one seamless journey relationship’s progression—from isolation to
emotional closeness
timulus: A love story with a
S ural Setting: An original composition by
A
horeographer
C twist—rooted in themes of love, Seymour Milton, blending electronic
James Cousins, who devised and loss, dependency, loyalty, elements with strings and piano to create a
choreographed the work longing, and memory. It explores haunting, emotive soundscape that evolves
an emotional connection that with the choreography
ance Company
D can't ultimately be sustained
James Cousins Company, founded in 2014 ostume: Stylised, everyday clothes. The
C
and the platform through which Cousins female wears a beige skirt and shirt, while
develops, tours, and engages in horeographic Intention: To
C the male wears a khaki jumper and jeans.
learning-participation programmes translate the emotional and Her lighter attire evokes celestial, ethereal
visceral energy of a live stage qualities; his darker clothing grounds him
umber of Dancers
N work (originally titled There We and highlights lines and gender contrast
2 dancers: originally performed by a male Have Been) into an abstract,
and a female (e.g., Aaron Vickers and Lisa filmic love story wherein the ighting: Utilises natural light, transitioning
L
Welham in the film version) relationship is tender yet tragic. from daytime into evening and night to
The female dancer's constant underscore the passage of time and deepen
ance Style
D off-floor position symbolizes emotional intensity
Contemporary contact work—a seamless emotional dependence, and the
blend of emotive partnering and physical male responds rather than erformance Environment: Site-sensitive,
P
interplay initiates, reflecting devotion and filmed outdoors by Scratch. The settings
emotional tension shift from remote, open landscapes to more
horeographic Approach
C intimate environments. The film frames the
The choreography stemmed from dancers initially from a distance—making
improvisation, particularly focusing on the UMMARY
S the viewer feel like a distant observer—then
idea of the female dancer never touching the The main intention is to convey moves closer as the emotional intensity
floor. Improvised material was filmed, then the narrative of the two builds. Hand-held camerawork in the final
learned back and structured to reflect characters by translating the section adds a raw, unstable feeling
emotional and narrative development emotional intensity and visceral
energy of the original stage taging / Set: While it’s a dance film rather
S
Structure show, portraying an abstract than a proscenium performance, its contexts
The work includes a prologue followed by six love story. include diverse natural locations like hilltops,
continuous sections, differentiated by shifts graveyards, quarries, woods, and long
in location, movement quality, and music, grass. These evolving settings mirror the
forming one seamless journey relationship’s progression—from isolation to
emotional closeness
