OCD39. Answer ALL questions (10 Marks) There are 3 questions in section C. Answer ALL questions (20 Marks) There are 5 questions in section A

OCD39 UNIVERSITY OF BOLTON OFF CAMPUS DIVISION SHOCKOUT ARTS PROFESSIONAL AND COMMERCIAL DANCE SEMESTER 2 EXAMINATION 2014/15 ADVANCED CLASSICAL BALL...
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OCD39

UNIVERSITY OF BOLTON OFF CAMPUS DIVISION SHOCKOUT ARTS PROFESSIONAL AND COMMERCIAL DANCE SEMESTER 2 EXAMINATION 2014/15 ADVANCED CLASSICAL BALLET TECHNIQUE MODULE NO: PCD5002

Date: Monday 1st June 2015

Time: 1.30 – 3.30pm

INSTRUCTIONS TO CANDIDATES:

There are 5 questions in section A Answer ALL questions (10 Marks) There are 4 questions in section B Answer ALL questions (20 Marks) There are 3 questions in section C Answer ALL questions (30 Marks) There are 2 questions in section D Answer ALL questions (40 Marks)

This is a closed book examination. You must hand in this exam paper with your answer booklet.

Page 2 of 5 University of Bolton Off Campus Division Shockout Arts Professional and Commercial Dance Semester 2 Examination 2014/2015 Advanced Ballet Technique Module No. PCD5002

SECTION A – ANSWER ALL QUESTIONS FROM THIS SECTION

The first set of 5 questions are based on anatomical awareness and your understanding of this in context of the classical ballet performer. Each question is 2 marks. 1. Turnout of the legs at the hip socket is a key element of classical ballet technique. What muscles are used to rotate the legs outwards? 2. The strength of classical ballet performer’s feet are extremely important. Please provide two examples of ballet exercises from ballet technique, which continuously improve the strength of a dancer’s foot. 3. Provide the correct anatomical term given to the pointing of a dancer’s foot and what degrees is optimum for a dancer. 4. Provide the correct French term for a ballet movement that uses both extreme dorsi-flexion and plantar flexion. 5. Provide the correct anatomical term for a Plie.

(10 marks)

END OF SECTION A

PLEASE TURN THE PAGE

Page 3 of 5 University of Bolton Off Campus Division Shockout Arts Professional and Commercial Dance Semester 2 Examination 2014/2015 Advanced Ballet Technique Module No. PCD5002

SECTION B – ANSWER ALL QUESTIONS FROM THIS SECTION The following 4 questions are based on your knowledge of the ballet dancer’s anatomy and the historical context of classical ballet in relation to the performer and your own training. Each question is 5 marks. 6. The Royal Ballet Lower and Upper School which caters for students aged 1119 is a world renowned centre of excellence for classical ballet training. Making reference to the Royal Ballet Schools extensive and varied full-time system of training explain how students are equipped to achieve the prestige of a professional classical ballet performer. 7. You are auditioning for the Mariinsky Ballet in St. Petersburg, Russia. As part of your overseas audition reel you are required to perform a Variation choreographed by Marius Petipa. Making reference to the lasting legacy of Petipa explain how individual research can aid both a dancer’s performance quality and appropriate technical approach. You are expected to draw on your knowledge of the Mariinsky Ballet and Russian ballet technique. 8. “Within the classical ballet Swan Lake the female Principal dancer would ideally perform both the White and Black Swan”. Discuss this statement make reference to the required technical and artistic qualities and differences of the classical ballet performer within each role. 9. Pas de Deux is a distinctive characteristic of Classical Ballet, where the Principal male and female performers of the company would show their expertise. Describe and explain the technique, anatomical awareness and dance knowledge needed for both dancers to effectively execute a Pas de Deux as a classical ballet performer. (20 marks)

END OF SECTION B

Page 4 of 5 University of Bolton Off Campus Division Shockout Arts Professional and Commercial Dance Semester 2 Examination 2014/2015 Advanced Ballet Technique Module No. PCD5002 PLEASE TURN THE PAGE SECTION C – ANSWER ALL QUESTIONS FROM THIS SECTION

The following 3 questions are based on your own understanding of the Classical Ballet performer and how your knowledge of all aspects of your ballet training underpins the anatomical awareness and performance skills of the dancer. Each question is 10 marks.

10 A Grande Pas de Deux is performed by Principal male and female dancers. Describe and explain the structure of the Grande Pas de Deux in contrast to the Pas de Deux. Discuss the Grande Pas de Deux from La Corsaire and Don Quixote making reference to iconic moments from both and the artistic approach needed as a classical ballet performer.

11 Describe specific elements of classical ballet technique training and anatomical awareness which have helped to underpin your solo ‘variation’ in readiness for performance and execution. When discussing the performance consider ‘phenomenology’ within the artistic realm of classical ballet.

12 Using historical context and your knowledge in relation to the group performance piece, explain its origins making reference to the integration of this national dance within a classical ballet context and the importance of ‘costume’ worn by ballet performers. (30 marks)

END OF SECTION C

Page 5 of 5 University of Bolton Off Campus Division Shockout Arts Professional and Commercial Dance Semester 2 Examination 2014/2015 Advanced Ballet Technique Module No. PCD5002 PLEASE TURN THE PAGE SECTION D – ANSWER ALL QUESTIONS FROM THIS SECTION

The following 2 questions address the historical, contextual knowledge of the classical ballet performer in training and in performance, with reference to your own practice and that of the dancers/ballets you have studied discuss and apply critical thinking to the needs of the dancer in performance. Each question is 20 marks

13 Danish born ballet master August Bournonville devised his own ballet technique and choreographic style. Discuss the technical characteristics of the Bournonville method. Make clear and concise reference to the legacy of Bournonville’s classical ballet repertoire, technique and training system and its world position within Classical Ballet both historically and in a contemporary context.

14 Making reference to the historical formation of the Cecchetti ballet training method, describe and explain the anatomical and technical benefits of this particular system of training. (40 Marks)

END OF SECTION D

END OF QUESTIONS

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