WHAT DO I NEED TO KNOW? • SECTION A – SAFETY • PERSONAL PRESENTATION • NUTRITION, HYDRATION AND HEALTH • WARM UP AND COOL DOWN • SAFE PRACTICE AS A PERFORMER • INJURIES

WHAT DO I NEED TO KNOW? Section B – Choreography and Performance • ACTIONS

• PERFORMANCE SKILLS

• SPACE

• CHOREOGRAPHIC DEVICES

• DYNAMICS

• STIMULI

• RELATIONSHIPS

• MOTIFS

• TECHNICAL DANCE SKILLS

• DANCE FORM

• EXPRESSIVE DANCE SKILLS

WHAT DO I NEED TO KNOW? Section C – Swansong and Nutcracker • NAME OF THE DANCE • CHOREOGRAPHER • COMPANY NAME

• SET DESIGNER AND DESCRIPTION OF THE SETTING • DANCE STYLE(S)

• DATE IT WAS FIRST PERFORMED

• NUMBER OF DANCERS AND GENDER OF DANCERS

• ACCOMPANIMENT – COMPOSER AND STYLE OF MUSIC

• DANCE IDEA OR CONCEPT (STARTING POINT)

• COSTUME DESIGNER AND DESCRIPTION OF COSTUMES

• STRUCTURE OF THE DANCE (SECTIONS)

• LIGHTING DIRECTOR AND STYLE OR DESCRIPTION OF LIGHTING

• ACTIONS, SPACE, DYNAMICS, RELATIONSHIPS

NUTRITION, HYDRATION AND HEALTH

WHAT DO WE GET FROM OUR FOOD? Water

Hydrates the body

Carbohydrates

Give energy to the body

Calcium

Helps to keep bones strong

Protein

Needed for growth, building and repair of cells in the body

Fibre

Slow release energy Keeps the digestive system healthy

Vitamins and Minerals

Help the formation of bodily tissues (hair, teeth, nails and skin, necessary for chemical reactions within the body

Fats and Sugars

Quick acting energy, provide insulation by being stored under the skin

BALANCED DIET • A BALANCED DIET FOR A DANCER NEEDS TO CONSIST OF A VARIETY OF FOOD TYPES IT MAY LOOK LIKE THIS: • VITAMINS – 33% • CARBOHYDRATES – 32% • DAIRY (MINERAL - CALCIUM) – 15%

• PROTEINS – 12% • FATS / SUGAR – 8% • WATER – 2 TO 3 LITRES PER DAY

WATER • DANCERS SWEAT A LOT DURING DAILY CLASSES, REHEARSALS AND PERFORMANCES. IT IS IMPORTANT TO DRINK PLENTY OF WATER AS PART OF YOUR DAILY DIET

Signs of Dehydration: • Fatigue, or deep-seated tiredness • Inability to react appropriately • Inability to concentrate • Feelings of light-headedness • Muscle cramps • Severe headache

BREAD, CEREALS AND POTATOES THE MAIN NUTRIENTS PROVIDED BY THIS GROUP ARE: • CARBOHYDRATES (STARCH) • CALCIUM • IRON • B VITAMINS • FIBRE EXAMPLES: RICE, BREAD, PASTA, POTATOES

MEAT, FISH, EGGS, BEANS, PULSES AND NUTS THE MAIN NUTRIENTS PROVIDED BY THIS GROUP OF FOODS ARE: • PROTEIN • IRON • B VITAMINS (ESPECIALLY VITAMIN B12 FROM MEAT AND FISH) • ZINC • MAGNESIUM EXAMPLES: STEAK, OMELETTE, KIDNEY BEANS, ALMONDS

FATS AND SUGARS

THE MAIN NUTRIENTS PROVIDED BY THIS GROUP OF FOODS ARE: • FAT • CARBOHYDRATE (SUGAR) • VITAMINS D AND E EXAMPLES: CHEESE, CHOCOLATE, MAYONNAISE, KETCHUP, SWEETS

FRUIT AND VEGETABLES THE MAIN NUTRIENTS PROVIDED BY THIS GROUP OF FOODS ARE: • VITAMIN C • VITAMIN A • CARBOHYDRATE • FIBRE • PHYTONUTRIENTS EXAMPLES: APPLES, CUCUMBER, SPROUTS

MILK AND DAIRY THE MAIN NUTRIENTS PROVIDED BY THIS GROUP OF FOODS ARE: • CALCIUM • PROTEIN • B VITAMINS LIKE RIBOFLAVIN, VITAMIN B6 AND B12 • VITAMIN A • VITAMIN D EXAMPLES: BUTTER, CREAM, CHEESE

REMEMBER!

A DANCER NEEDS TO EAT A BALANCED DIET THAT:

PROVIDES LOTS OF ENERGY GIVES GOOD NUTRIENTS, INCLUDING CALCIUM HYDRATES THE BODY

WARM UPS

WARM UPS WHY DO WE NEED TO WARM UP? • REDUCE THE CHANCE OF INJURY

• IMPROVE OUR PERFORMANCE IN REHEARSALS/PERFORMANCE • PREPARE OURSELVES PHYSICALLY AND MENTALLY

WHAT ARE THE THREE MAIN SECTIONS OF A WARM UP? 1.

MOBILISATION OF JOINTS

2.

CARDIOVASCULAR ACTIVITY

3.

STRETCHING

WHAT HAPPENS TO OUR BODIES WHEN WE WARM UP? • NERVE MESSAGES FROM THE BRAIN TO THE LIMBS SPEED UP

• PULSE IS RAISED • MUSCLES BECOME MORE ELASTIC • INTERNAL BODY TEMPERATURE IS RAISED

• INCREASE OF BLOOD FLOW TO THE MUSCLES • REDUCE THE RISK OF INJURY • JOINTS ARE MOBILISED

COOL DOWNS

WHY DO WE COOL DOWN? • PREVENT THE BUILD UP OF WASTE PRODUCTS IN THE MUSCLES (E.G. LACTIC ACID), AS THIS WILL HELP TO PREVENT MUSCLE STIFFNESS OR SORENESS

• PREVENT BLOOD POOLING IN THE MUSCLES WHICH CAN MAKE YOU FEEL DIZZY DUE TO THE REDUCED BLOOD SUPPLY TO THE BRAIN

• ALLOW THE HEART RATE TO SLOWLY RETURN TO NORMAL

WHAT SHOULD WE DO TO COOL DOWN? • CONCENTRATE ON YOUR BREATHING - LONG, DEEP BREATHS WILL HELP TO BRING YOUR HEART RATE DOWN

• GENTLE STRETCHES USING ALL OF THE BODY - MAKE SURE THESE ARE SMOOTH AND CONTROLLED

• DRINK PLENTY OF WATER!

SAFE PRACTICE AS A PERFORMER

DANCE SPACE CHECKS OBSTRUCTIONS:

• IS THERE ANYTHING ON THE FLOOR THAT SHOULDN’T BE THERE? (WATER, PAPER, LITTER, ETC.) • IS THERE ANYTHING AROUND THE SIDE OF THE ROOM THAT COULD BE A PROBLEM?

FLOOR:

• A SPRUNG, NON-SLIP FLOOR IS IDEAL

LIGHTING:

• IS THE SPACE WELL LIT? • ARE THERE ANY DARK AREAS THAT COULD CAUSE A HAZARD?

TEMPERATURE:

• IDEAL IS BETWEEN 18° AND 24°C. • IT IS IMPORTANT TO WEAR LAYERS SO THE DANCER CAN ADD OR TAKE AWAY AS NEEDED

NATURE AND PLACEMENT OF SET DESIGN AND PROPS: • LIGHTING • SCENERY • PROPS FOR DANCING

ELEVATION AND LANDING ELEVATION • DANCERS SHOULD USE THEIR WHOLE FOOT TO MOVE INTO THE AIR - THE TOES SHOULD BE THE LAST THING TO LEAVE THE FLOOR. IT ALSO HELPS TO BEND THE KNEES AS A PREPARATION FOR THE LEAP

LANDING • LANDING SHOULD BE THE REVERSE OF ELEVATION - DANCERS NEED TO USE THE WHOLE FOOT AND BEND THEIR KNEES THEY SHOULD ACT AS SHOCK ABSORBERS AND CUSHION THE LANDING IMPACT

ASDR ACTIONS SPACE DYNAMICS RELATIONSHIPS

ASDR ACTIONS – THE WHAT

SPACE – THE WHERE

DYNAMICS – THE HOW

RELATIONSHIPS – THE WITH

ACTIONS • WHAT THE BODY IS DOING

• THERE ARE 5 BASIC DANCE ACTIONS:

• JUMP, TURN, GESTURE, STILLNESS, TRAVEL

• ALL DANCE MOVEMENT FALLS INTO ONE OF THESE 5 CATEGORIES

SPACE • WHERE THE BODY IS MOVING

• LEVELS – HIGH, MIDDLE OR LOW • DIRECTION – FORWARD, BACKWARD, SIDE TO SIDE, UP, DOWN, IN OUT, DIAGONALLY • AIR AND FLOOR PATTERNS – CIRCULAR, ZIG-ZAG, LINEAR, DIAGONAL, FREE/RANDOM • DIMENSIONS – DOOR PLANE = HEIGHT AND WIDTH, TABLE PLANE = WIDTH AND DEPTH, WHEEL PLANE = HEIGHT AND DEPTH • PERSONAL SPACE – AS FAR, HIGH AND WIDE AS YOU CAN REACH • GENERAL SPACE – ALL OF THE SPACE OUTSIDE YOUR PERSONAL SPACE

• STAGE SPACE – DESCRIBED AS UPSTAGE AND DOWNSTAGE

DYNAMICS • HOW YOU ARE MOVING

• THIS DESCRIBES THE AMOUNT OF ENERGY REQUIRED TO PERFORM A MOVEMENT

TIME + FORCE = DYNAMIC

RELATIONSHIPS • WHAT/WHO THE BODY IS MOVING WITH • DANCER TO DANCER CANON, UNISON, QUESTION AND ANSWER, MIRRORING, SYMMETRY, LIFTING, ETC. • DANCER TO SPACE FORMATIONS, GROUPINGS • DANCER TO MUSIC DIRECT CORRELATION, MUTUAL COEXISTENCE, CHARACTERISATION, ETC.

• DANCER TO PROP

DANCE ACTIONS

JUMP JUMP DESCRIBES THE ACTION OF RISING INTO THE AIR USING THE MUSCLES IN THE LEGS AND FEET. JUMPS CAN BE VARIED ACCORDING TO HOW YOU USE YOUR FEET YOU CAN CHANGE YOUR BODY SHAPE WHILE YOU ARE IN THE AIR, YOU CAN ALSO VARY THE HEIGHT AND LENGTH OF THE JUMP

TURN TO TURN MEANS TO MOVE AROUND AN AXIS OR TO ROTATE

GESTURE THIS IS AN ACTION OR MOVEMENT THAT DOES NOT INVOLVE MOVING THE LEGS OR CHANGING YOUR WEIGHT

NODDING YOUR HEAD OR WAVING YOUR ARMS ARE EXAMPLES OF GESTURES

STILLNESS OR BALANCE STILLNESS IS WHEN THE BODY IS NOT MOVING; IT IS HELD IN A STILL POSITION. STILLNESS CAN BE DYNAMIC AND CAN LAST FOR A FRACTION OF A SECOND, OR IT CAN BE A POSITION THAT IS HELD FOR MUCH LONGER.

TRAVEL TRAVELLING MEANS MOVING FROM ONE PLACE TO ANOTHER

TECHNICAL DANCE SKILLS

TECHNICAL DANCE SKILLS • POSTURE What are technical dance skills? • Any physical skill necessary for dance

• ALIGNMENT

In order to improve on all of these features of dance, you need to participate in regular technique classes and rehearse in your own time

• BALANCE

• CO-ORDINATION

• STRENGTH • STAMINA • FLEXIBILITY • MOBILITY • CONTROL • MENTAL CAPACITY

POSTURE • THIS REFERS TO THE POSITION OF YOUR BODY

• YOU CAN CHECK YOUR POSTURE IN THE MIRRORS ALL AROUND THE STUDIO OR GET A FRIEND TO HELP YOU FIND THE POSITION OF YOUR BODY

• YOUR BODY SHOULD BE IN A STRAIGHT LINE FROM EAR TO HEEL

ALIGNMENT • WHEN THE BODY IS IN ALIGNMENT, EVERY PART IS WORKING IN COOPERATION

• BEING IN ALIGNMENT IS BEING THE WAY THE BODY IS SUPPOSED TO BE SO THAT EVERYTHING CAN FUNCTION PROPERLY

COORDINATION

• GOOD CO-ORDINATION MEANS BEING ABLE TO USE DIFFERENT PARTS OF THE BODY AT THE SAME TIME, SMOOTHLY AND EFFICIENTLY

• MOST PHRASES OF MOVEMENT REQUIRE DANCERS TO HAVE GOOD COORDINATION

FLEXIBILITY • FLEXIBILITY REFERS TO THE RANGE OF MOVEMENT YOU HAVE IN EACH OF YOUR JOINTS

• GOOD FLEXIBILITY IS NOT JUST ABOUT BEING ABLE TO DO THE SPLITS!

• IN ORDER TO IMPROVE OUR FLEXIBILITY WE SHOULD PRACTICE A NUMBER OF STRETCHES DAILY

CONTROL • GOOD CONTROL IN DANCE REQUIRES A DANCER TO HAVE A HIGH LEVEL OF STRENGTH, BALANCE AND BODILY AWARENESS

• DANCE PIECES ARE MUCH MORE EFFECTIVE IF THOSE DANCING THEM ARE IN CONTROL

• CONTROL ALSO INCREASES THE SAFETY OF CONTACT WORK

MOBILITY • MOBILITY IS THE ABILITY TO MOVE FREELY AND EASILY

• AS A DANCER, YOUR MOVEMENTS SHOULD LOOK EFFORTLESS.

• EVEN THOUGH YOU WILL BE USING ALL OF YOUR TECHNICAL SKILLS TO DANCE A PHRASE, THE AUDIENCE MUST NOT KNOW!

• THIS APPLIES TO ALL STYLES OF DANCE.

STRENGTH • THE ONLY WAY A DANCER CAN IMPROVE THEIR STRENGTH IS TO PRACTICE DANCE TECHNIQUE EVERY WEEK, ENSURING THEY PUSH THEMSELVES TO THEIR MAXIMUM LEVELS

• STRENGTH IS BASED IN MUSCLES SO REPETITION IS KEY TO IMPROVING THIS SKILL

BALANCE

• DANCERS NEED EXCELLENT BALANCE TO ACHIEVE A HIGH LEVEL IN THEIR DANCE PRACTICE

• GOOD BALANCE RELIES ON THE STRENGTH OF A DANCER'S CORE MUSCLES AND ANY OTHER MUSCLES INVOLVED E.G. THE LEGS

STAMINA • STAMINA IS THE ABILITY TO WITHSTAND PROLONGED PERIODS OF PHYSICAL OR MENTAL EFFORT

• IN ORDER TO BUILD OUR STAMINA, WE REHEARSE!

• SOME PROFESSIONAL DANCE PIECES WILL LAST OVER AN HOUR WITHOUT A BREAK!

• EVERY TYPE OF ATHLETE WILL SPEND TIME BUILDING THEIR STAMINA AND DANCERS ARE NO DIFFERENT

MENTAL CAPACITY MENTAL CAPACITY REFERS TO:

• FOCUS AND CONCENTRATION - ARE YOU ON TASK?

• CONFIDENCE - DO YOU FEEL HAPPY ABOUT YOUR PERFORMANCE?

• DO YOU KNOW WHAT YOU'RE SUPPOSED TO BE DOING ALL THE TIME?

• DETERMINATION TO SUCCEED - DO YOU SEE EACH TASK THROUGH TO THE END?

EXPRESSIVE DANCE SKILLS

EXPRESSIVE DANCE SKILLS WHAT ARE EXPRESSIVE DANCE SKILLS? • THE WAY YOU PERFORM MOVEMENT AND INTERACT WITH OTHER DANCERS AND THE ACCOMPANIMENT

THESE SKILLS CAN BE DEVELOPED AND IMPROVED BUT SUCH IMPROVEMENTS USUALLY TAKE PLACE AFTER DANCE MATERIAL HAS BEEN LEARNT

   

Projection Sense of Style Musicality Communication of Choreographic Intent  Sensitivity to Others  Focus

PROJECTION • PROJECTION IS THE ENERGY AND POWER USED IN A PERFORMANCE

• THIS NEEDS TO MATCH THE DANCE IDEA/THEME

SENSE OF STYLE • THE FEATURES OF A DANCE STYLE THAT MAKE IT DIFFERENT AND RECOGNISABLE FROM ANOTHER E.G. ELONGATED LEG MOVEMENTS AND USE OF POINT SHOES IS AUTOMATICALLY ASSOCIATED WITH BALLET

MUSICALITY • HOW WELL YOU DANCE IN TIME WITH THE MUSIC, WITH THE RHYTHM OF THE MUSIC AND WITH THE PHRASING OF THE MUSIC

• TIMING - HOW MANY BEATS IN EACH BAR? • PHRASING - WHERE IS THE 1 COUNT IN THE MUSIC? • RHYTHM - THE ARRANGEMENT OF THE NOTES

COMMUNICATION OF CHOREOGRAPHIC INTENT

• DANCERS SHOULD HAVE THE ABILITY TO SHOW EMPATHY WITH THE MOOD OR MEANING OF THE DANCE AND BE ABLE TO INTERPRET AND COMMUNICATE THIS

• HOW DO WE SHOW CHARACTER IN DANCE?

SENSITIVITY TO OTHERS THIS MEANS HOW YOU WORK WITH OTHER DANCERS: • IN SPACE: CAN YOU WORK IN CLOSE PROXIMITY TO OTHERS, CAN YOU CHANGE FORMATIONS, DO YOU KNOW WHERE YOU SHOULD BE IN RELATION TO OTHERS?

• IN TIME: ARE YOU MOVING ON THE SAME COUNT AS OTHER DANCERS, ARE YOUR CANONS EFFECTIVE? • CAN YOU USE DIFFERENT DANCE RELATIONSHIPS AND GROUP FORMATIONS WITHIN YOUR CHOREOGRAPHY?

FOCUS

• FOCUS IS WHERE A DANCER IS LOOKING AT ANY MOMENT IN THE DANCE.

• THIS WILL ALWAYS DRAW THE AUDIENCE TO LOOK WHERE YOU ARE LOOKING

PERFORMANCE SKILLS HOW DO WE MAKE SURE OUR PERFORMANCE IS THE BEST IT CAN BE?

PLANNING A REHEARSAL SCHEDULE • Make sure everyone in the group has a copy • Let your group know if you cannot make it • If you can't dance but can be there, be there so you aren’t behind on the choreography • Make sure you plan enough rehearsals

COMMITMENT TO REHEARSALS • TURNING UP ON TIME • TURNING UP AT ALL! • POSITIVE ATTITUDE WHEN REHEARSING • NOT GIVING UP • GIVING 100%

MOVEMENT MEMORY • REHEARSING A PIECE HELPS TO GET THE MOVEMENT CLEAR IN YOUR BODY, RATHER THAN IN YOUR MIND • THIS WILL ALLOW YOU TO FOCUS ON THE PERFORMANCE OF THE DANCE, AND NOT ON TRYING TO REMEMBER WHAT COMES NEXT!

STRENGTHS AND WEAKNESSES • IDENTIFY STRENGTHS AND WEAKNESSES OF YOUR OWN AND OTHERS’ PERFORMANCE DURING REHEARSALS • CREATE AN ACTION PLAN OF HOW TO IMPROVE • USE ICT (FOR EXAMPLE, VIDEO CAMERA) TO MONITOR AND EVALUATE YOUR PERFORMANCE

AWARENESS OF THE CHARACTERISTICS OF THE DANCE

• WHAT STYLE OF DANCE IS YOUR PIECE?

• WHAT TYPE OF CHARACTER ARE YOU IN THE PERFORMANCE?

• WHAT IS THE STORY BEHIND YOUR DANCE?

CHOREOGRAPHIC DEVICES

MOTIF A MOTIF IS A SEQUENCE OF ACTIONS/ MOVEMENTS WHICH CAN BE DEVELOPED IT WILL CONSIST OF THE FIVE BASIC ACTIONS: TRAVEL BALANCE/STILLNESS JUMP TURN GESTURE IT IS REPEATED THROUGHOUT A DANCE PIECE

MOTIF DEVELOPMENT BELOW IS A LIST OF WAYS IN WHICH MOTIFS CAN BE DEVELOPED:  ADD OR CHANGE THE ACTION  CHANGE THE SIZE  CHANGE THE LEVEL  USE DIFFERENT BODY PARTS  ALTER THE FOCUS  CHANGE THE DIRECTION, DIMENSION OR PLANE  ALTER FLOOR PATTERN  REVERSE THE ORDER  CHANGE THE DYNAMICS  FRAGMENT THE MOTIF I.E. CHANGE ONLY SOME PARTS  MIX BITS FROM DIFFERENT MOTIFS

TRANSITIONS THESE ARE THE LINKS BETWEEN MOVEMENTS, PHRASES AND SECTIONS OF DANCE THEY ARE IMPORTANT AND SHOULD NOT LOOK LIKE THEY ARE AN ‘AFTER THOUGHT’ THE DANCE SHOULD FLOW AND THE TRANSITIONS SHOULD FEEL LIKE AN OVERALL PART OF THE CHOREOGRAPHY

COMPLEMENTARY AND CONTRASTING COMPLEMENTARY MOVEMENTS THAT HAVE ALREADY BEEN SEEN BUT ARE PERFORMED USING: 1. DIFFERENT BODY PARTS 2. DIFFERENT LEVELS CONTRAST MOVEMENT WHICH IS NOTICEABLY DIFFERENT FROM ANYTHING SEEN SO FAR EXAMPLE: A LIGHT SLOW MOTIF CAN BE CONTRASTED WITH AN EXPLOSIVE JUMP

CLIMAX HIGHLIGHT OF A PERFORMANCE

THE DANCE SHOULD BE ORGANISED TO GRADUALLY BUILD TOWARDS THIS MAKING IT SEEM INEVITABLE

FINAL CLIMAX SHOULD CONFIRM THE AUDIENCES EXPECTATION

YET ALSO PROVIDE AN ELEMENT OF SURPRISE

HIGHLIGHTS THESE ARE VERY IMPORTANT THEY ARE SIMILAR TO A CLIMAX BUT THERE CAN BE MORE THAN ONE IN A PIECE OF CHOREOGRAPHY THEY DRAW THE AUDIENCES ATTENTION TO SPECIFIC MOVEMENTS, HELD POSITIONS AND EVEN SPECIFIC PHRASES WITHIN THE DANCE THESE ARE THE MOMENTS THAT THE AUDIENCE WILL REMEMBER AFTER WATCHING THE DANCE

CANON • DANCERS PERFORMING ONE OR MORE MOTIFS

• MOTIFS ARE DANCED IN SUCCESSION

CANON DEVICES • SIMPLE CANON – STRICT ORDER, SENSITIVE TIMING AND AN AWARENESS OF OTHERS • SIMULTANEOUS CANON – DANCERS DOING THE SAME MOTIF AT THE SAME TIME BUT STARTING FROM DIFFERENT POINTS • CUMULATIVE CANON – EACH DANCER JOINS IN WITH THE LEAD DANCER AND ALL FINISH AT THE SAME TIME • LOOSE CANON - OFFERS MORE OPPORTUNITY I.E. DIFFERENT LEVELS, FACING OR PLACEMENTS

UNISON • THE SAME MOVEMENT AT THE SAME TIME

• SIMILAR OR COMPLEMENTARY MOVEMENTS AT THE SAME TIME

• CONTRASTING MOVEMENTS AT THE SAME TIME

REPETITION, VARIATION AND DEVELOPMENT • REPETITION – COMPLETE REPEAT OF A MOTIF

• VARIATION – WHEN YOU ADD ANOTHER ACTION TO THE MOVEMENT

• DEVELOPMENT – YOU REPEAT IT AT DIFFERENT LEVELS, FRONTS, ETC.

STIMULI DIFFERENT STARTING POINTS FOR DANCE

WHAT IS A STIMULUS? • A STARTING POINT

• SOMETHING THAT WE USE TO INSPIRE DANCE

• STIMULI IS THE PLURAL OF STIMULUS

TYPES OF STIMULI THERE ARE 5 DIFFERENT TYPES OF STIMULI WE CAN USE TO INSPIRE MOVEMENT

THEY ARE: • VISUAL • AUDITORY • TACTILE • IDEATIONAL • KINAESTHETIC

VISUAL • ANYTHING YOU CAN SEE

• PICTURES, SCULPTURES, PATTERNS, SHAPES, ETC.

AUDITORY • ANYTHING YOU CAN HEAR

• A SONG, LYRICS, MOOD, DYNAMICS, SPOKEN WORDS, PERCUSSION, POEMS

TACTILE • ANYTHING YOU CAN TOUCH

• HOW SOMETHING FEELS, HOW IT MOVES

IDEATIONAL • AN IDEA, STORY OR THEME

KINAESTHETIC • MOVEMENT ITSELF IS THE INSPIRATION

DANCE FORM/ STRUCTURE

BINARY A-B

2 SECTIONS THAT ARE DIFFERENT FROM EACH OTHER

TERNARY A-B-C

3 SECTIONS THAT ARE DIFFERENT FROM EACH OTHER

RONDO A-B-A-C-A-D…

1 SECTION IS REPEATED THROUGHOUT LIKE A SONG WITH A CHORUS AND A NUMBER OF VERSES

THEME AND VARIATION A1-A2-A3-A4…

EACH SECTION IS A DEVELOPMENT OF THE ORIGINAL PHRASE

NARRATIVE A-B-C-D-E…

TELLS A CONTINUOUS STORY

EPISODIC AA-BB-CC-DD…

DIFFERENT SECTIONS BASED ON ONE THEME

CHANCE C-F-A-B-E-D… RANDOM CREATION OF MOVEMENT

WILL BE DIFFERENT EACH TIME IT IS PERFORMED

ABSTRACT A… THIS FORM IS ABOUT MOVEMENT ITSELF

IT DOES NOT NECESSARILY HAVE DISTINCT SECTIONS

CONSTITUENT FEATURES INTRODUCTION

WHAT ARE CONSTITUENT FEATURES? AURAL SETTING: • MUSIC MOVEMENT RELATIONSHIPS • ACCOMPANIMENT

PHYSICAL SETTING: • LIGHTING • PROPS • SET • COSTUME

CONSTITUENT FEATURES SET DESIGN

SET DESIGN • THERE ARE A NUMBER OF DIFFERENT SET DESIGNS THAT MAY BE USED FOR DANCE PERFORMANCES • THESE ARE… 1.

PROSCENIUM

2.

REALISTIC

3.

SITE SPECIFIC

4.

ABSTRACT

1. PROSCENIUM • THIS IS THE MOST COMMON TYPE OF SET DESIGN • IT IS A TRADITIONAL STAGE SETTING WITH THE AUDIENCE IN FRONT • IT HAS A BACKDROP THAT CAN BE CHANGED • IT HAS WINGS FOR ENTRANCES AND EXITS

1. PROSCENIUM ADVANTAGES

DISADVANTAGES

 There is plenty of space to dance in

 It can be costly to hire

 The back drop can be changed to allow for different scenes

 The variety of levels can be limited

 It is a versatile space

 The view for some member of the audience can be limited

2. REALISTIC • THIS IS MUCH LIKE A PROSCENIUM SPACE EXCEPT THE STAGE HAS BEEN MADE TO LOOK LIKE A REAL PLACE • A REALISTIC SET DESIGN COULD BE A SHOP, A CAFÉ, THE JUNGLE, A HOSPITAL… • THIS DESIGN STILL HAS THE AUDIENCE AT THE FRONT AND WINGS AT THE SIDE

2. REALISTIC ADVANTAGES

DISADVANTAGES

 It can help communicate the dance idea

 It can be very costly to put together

 It can be interesting to look at

 The audience may be distracted from the movement

 It can provide a variety of levels, entrances and exits

 The view for some member of the audience can be limited

3. SITE SPECIFIC • A SITE SPECIFIC SET DESIGN IS ONE WHERE THE CHOREOGRAPHER CHOOSES A SPECIFIC PLACE/ BUILDING AND USES THAT SPACE FOR THE PERFORMANCE • EXAMPLE: A SHOPPING CENTRE, A HOSPITAL, A BEACH, A HOTEL, A CHILDREN’S PLAYGROUND

3. SITE SPECIFIC ADVANTAGES  Don’t have to pay for theatre hire  Can make for a really interesting space  The dancers can interact with the space

 Can help communicate the dance idea

DISADVANTAGES  Could be an uncomfortable environment for an audience  May be a public place and have interference from others  May have environmental implications

4. ABSTRACT SET DESIGN • THIS TYPE OF SET DESIGN IS ANYTHING UNUSUAL • AN ABSTRACT SET DESIGN COULD USE A SCULPTURE, A PIECE OF ART WORK OR ANYTHING ELSE THAT IS NOT A LITERAL INTERPRETATION OF SOMETHING REAL

4. ABSTRACT ADVANTAGES  Freedom of anything goes

 The dancers can reflect and interact with the design  The audience can make their own interpretation

DISADVANTAGES  The audience may not understand the abstract nature  May be a public place and have interference from others  There may be cost implications

CONSTITUENT FEATURES LIGHTING DESIGN

LIGHTING DESIGN • LIGHTING IS AN IMPORTANT ASPECT OF EVERY DANCE • IT CAN ENHANCE THE DANCE IDEA BY HELPING TO COMMUNICATE MOOD AND ATMOSPHERE • LIGHTING CAN ALSO GENERATE A VARIETY OF EFFECTS WHICH WE WILL DISCUSS IN MORE DETAIL • DIFFERENT EFFECTS USED ARE… A WASH OF LIGHT, SPOT LIGHTS AND A CORRIDOR OF LIGHT

TYPES OF LIGHTING • WASH: GIVE THE STAGE A GENERALISED COLOUR • BATTENS: ROWS OF LIGHTS

• SPOTS: DEFINED BEAM OF LIGHT • GELS: FITTED IN FRONT OF THE LIGHTS TO GIVE A COLOUR

WASH OF LIGHT • THIS IS CREATED BY STAGE LIGHTS HAVING DIFFERENT COLOURED GELS ATTACHED TO THEM • THE DIFFERENT COLOURS CAN EASILY CREATE DIFFERENT MOODS AND ATMOSPHERE • FOR EXAMPLE, BLUES CREATE A COLD AND EERIE FEELING, WHILST REDS AND YELLOWS CREATE A WARM FEELING

BATTENS OF LIGHT • THIS IS SIMILAR TO A SPOT LIGHT, HOWEVER, THE LIGHT APPEARS AS A LONG VERTICAL SHAFT (CORRIDOR OF LIGHT) • THIS IS OFTEN USED FROM THE SIDES OF THE STAGE AS OPPOSED TO FROM THE AUDIENCES PERSPECTIVE

SPOT LIGHTS • THIS IS WHERE A SINGLE, STRONG BEAM OF WHITE LIGHT IS DIRECTED SPECIFICALLY ON CERTAIN DANCERS • IT IS USED TO HIGHLIGHT CERTAIN CHARACTERS OR MOVEMENTS • IT CREATES A MORE INTIMATE FEELING AND THE AUDIENCE ARE DRAWN TO WATCH SPECIFICALLY WHAT IS BEING FOCUSSED ON

GELS IN LIGHTS • GELS ARE USED TO COLOUR LIGHTS • THIS CAN BE USED TO CREATE MOOD SUCH AS RED LIGHTS FOR ANGER IN A SCENE • COLOUR CAN ALSO BE USED TO SHOW LOCATION SUCH AS GREEN LIGHT BEING USED TO SHOW AN UNDERWATER SCENE • GELS CAN BE ADDED TO A WASH, BATTENS AND SPOTS

CONSTITUENT FEATURES PROPS

WHAT ARE PROPS? • OBJECTS THAT ARE NECESSARY TO THE ACTION OF A PERFORMANCE • PROPS ADD TO A SPECIFIC CHARACTER, THE LOCATION OF THE PIECE OR THE DANCE IDEA AS A WHOLE

TYPES OF PROPS THERE ARE 5 DIFFERENT TYPES OF PROPS YOU SHOULD BE AWARE OF: 1. HAND PROPS 2. SET PROPS 3. TRIM PROPS

4. GREEN PROPS 5. PERSONAL PROPS

1. HAND PROPS • HAND PROPS ARE ANY PROPS MANIPULATED BY ONE OR MORE DANCERS ON STAGE

2. SET PROPS • SET PROPS INCLUDE ALL THE FURNITURE ON STAGE

• IT ALSO INCLUDES OBJECTS, SUCH AS ROCKS WHICH ARE SAT ON • SET PROPS ARE USUALLY LARGE E.G. A SOFA, A TABLE, A HAT STAND

3. TRIM PROPS

• TRIM PROPS HANG ON THE WALLS OF A SET • EXAMPLE: CURTAINS, BLINDS, PICTURES • TRIM PROPS ARE ADDITIONAL TO THE SET

4. GREEN PROPS • REAL OR ARTIFICIAL PLANTS, LEAVES, BUSHES AND FLOWERS

5. PERSONAL PROPS • A PERSONAL PROP IS A PROP A PERFORMER CARRIES TO DEVELOP THEIR CHARACTER • SOMETIMES THESE ARE CALLED FOR IN THE CHOREOGRAPHY, • EXAMPLES: A PIPE, A CANE, A FAN

CONSTITUENT FEATURES COSTUME

TYPES OF COSTUME DESIGN • COSTUME IS AN IMPORTANT ASPECT OF A DANCE • IT CAN HELP COMMUNICATE THE DANCE IDEA, LOCATION AND/OR CHARACTER AND CAN BE USED IN MANY DIFFERENT WAYS

THERE ARE A NUMBER OF DIFFERENT TYPES OF COSTUME DESIGNS THAT ARE USED FOR DANCE: 1.

REALISTIC/EVERYDAY WEAR

2. DANCE WEAR

3. ABSTRACT 4. CHARACTER

1. REALISTIC/EVERYDAY WEAR • CLOTHES THAT ARE USED BY PEOPLE IN EVERYDAY LIFE • EXAMPLES: JEANS, T-SHIRTS, SUIT, ETC. • THIS COSTUME DESIGN IS OFTEN USED TO SHOW REAL LIFE

• IT CAN BE USED IN BIOGRAPHICAL DANCES

1. Realistic/Everyday Wear ADVANTAGES It is cheap and easy to produce as can be bought in cheap high street stores 



It can be easy to move in

It can add to the dance idea and support the everyday nature of the dance 

DISADVANTAGES Certain everyday clothing can be difficult to move in, e.g. Jeans can be restrictive 

With baggy clothing you can’t always see the line of the body 

2. DANCE WEAR • MOST COMMONLY USED TYPE OF COSTUME • TRADITIONALLY IT IS USED IN BALLET PIECES • OFTEN PLAIN COLOURED E.G. BLACK, WHITE • EXAMPLES: LEOTARD, BALLET SHOES, DANCE TROUSERS, TAP SHOES, CROP TOP

2. Dance Wear ADVANTAGES 

It is cheap to produce

It is very easy to move in as the material will be stretchy 

You’ll be able to clearly see the line of the body 

DISADVANTAGES 

Very simple looking



Plain colours so could be boring

Will not always add to the dance idea 

3. CHARACTER COSTUME • THIS COSTUME DESIGN SHOWS DIFFERENT CHARACTERS IN A DANCE • THIS TYPE OF COSTUME DESIGN IS OFTEN VERY ELABORATE

• A CHOREOGRAPHER MAY CHOOSE THIS IN NARRATIVE BASED PIECES OR ANY DANCE WHICH HAS DIFFERENT CHARACTERS OR ROLES • EXAMPLES COULD BE… ANIMALS, GHOSTS, SOLDIERS, ETC.

3. Character Costume ADVANTAGES

DISADVANTAGES



It can clearly identify different characters in dance



It can add to the dance idea with different characters



Can be difficult to move in



May block the audience’s view



Can be heavy and hot to wear





It can help the audience understand

They can be very expensive to produce

4. ABSTRACT COSTUME • THIS TYPE OF COSTUME DESIGN IS NOT WHAT WE WOULD USUALLY SEE IN DANCE PERFORMANCES

• IT IS OFTEN UNCLEAR WHAT THE COSTUME IS SUPPOSE TO BE • EXAMPLE: IT COULD BE A LONG BLACK CAPE WITH A SCULPTURED WIG AND HANGING BIRDS

4. Abstract Costume ADVANTAGES 

Add to the dance idea



Provoke reaction from the audience

DISADVANTAGES 

Could be restrictive

The

audience may find it hard to understand

You may not always be able to see the line of the body 

CONSTITUENT FEATURES AURAL SETTING: ACCOMPANIMENT

ACCOMPANIMENT • ACCOMPANIMENT IS THE MUSIC OR SOUND THAT THE AUDIENCE HEAR WHEN SEEING THE MOVEMENT • THERE ARE DIFFERENT TYPES OF ACCOMPANIMENT FOR DANCE • TYPES OF ACCOMPANIMENT ARE: 1.

MUSIC

2.

SOUND - FOUND & NATURAL SOUND

3.

SILENCE

4.

VOICE

1. MUSIC • MUSIC IS THE MOST COMMON ACCOMPANIMENT FOR DANCE • EXAMPLES OF MUSICAL STYLES; CLASSICAL, FOLK, POP, ROCK • DANCE MOVEMENT CAN RELATE TO MUSIC IN MANY DIFFERENT WAYS, CREATING DIFFERENT EFFECTS (WE WILL DISCUSS THIS LATER) PROFESSIONAL DANCE WORK EXAMPLE NUTCRACKER! BY MATTHEW BOURNE USES THE NUTCRACKER SUITE BY TCHAIKOVSKY

2. SOUND

FOUND AND NATURAL • FOUND SOUND IS SOUND OR NOISE THAT IS PRODUCED BY PEOPLE E.G. BANGING, CLAPPING, STAMPING • NATURAL SOUND IS SOUND THAT IS CREATED BY NATURE E.G. BIRDS, WIND, RAIN PROFESSIONAL DANCE WORK EXAMPLE (FOUND) SWANSONG BY CHRISTOPHER BRUCE USES TAPPING, CLAPPING AND STAMPING THROUGHOUT

3. SILENCE • SOMETIMES CHOREOGRAPHERS FEEL THAT NO ACCOMPANIMENT IS APPROPRIATE FOR THEIR DANCE OR THAT SILENCE COULD ADD TO THE DANCE IDEA • IT CAN ALLOW THE NOISE PRODUCED BY THE DANCER TO BE HEARD, FOR EXAMPLE, BREATHING. PROFESSIONAL DANCE WORK EXAMPLE SODA LAKE BY RICHARD ALSTON THE SILENCE ADDS TO THE IDEA OF THE SPARSENESS AND SILENCE OF THE NEVADA DESERT

4. VOICE • VOICE IS EXACTLY WHAT IT SUGGESTS, USING THE

HUMAN VOICE AND SPOKEN WORDS TO ACCOMPANY MOVEMENT • VOICE CAN BE USED TO ADD TO BIOGRAPHICAL DANCES • POETRY CAN BE USED WHEN IT IS THE STIMULUS OF THE PIECE OR THE CHOREOGRAPHY RELATES TO THE RHYTHM OF A POEM PROFESSIONAL DANCE WORK EXAMPLE WYOMING BY SIOBHAN DAVIES (SHORT STORY) ONE OF THE STIMULI FOR WYOMING IS A SHORT STORY CALLED SPRING. SIOBHAN DAVIES USES EXTRACTS FROM THE STORY TO ACCOMPANY THE MOVEMENT

CONSTITUENT FEATURES AURAL SETTING: MUSIC MOVEMENT RELATIONSHIPS

MUSIC MOVEMENT RELATIONSHIPS

THIS IS ONLY APPLIED WHEN MUSIC IS USED AS AN ACCOMPANIMENT

MUSIC MOVEMENT RELATIONSHIPS • WHEN MUSIC IS USED AS AN ACCOMPANIMENT FOR DANCE IT CAN HAVE DIFFERENT TYPES OF RELATIONSHIPS WITH THE MOVEMENT TYPES: 1. DIRECT CORRELATION 2. MUTUAL CO-EXISTENCE 3. DISASSOCIATION

4. ENHANCEMENT OF MOOD OR CHARACTER 5. MUSIC VISUALISATION

1. DIRECT CORRELATION • EVERYTHING MATCHES; SPEED, PITCH, RHYTHM • FOR EXAMPLE…  IF THE MUSIC HAS A HIGH NOTE THERE WILL BE A HIGH GESTURE OR LEAP IF THE MUSIC SPEEDS UP SO WILL THE MOVEMENT IF THE MUSIC IS QUIETER, SOFTER DYNAMICS WILL BE USED IF THE RHYTHM CHANGES THE MOVEMENT WILL ALSO DO SO

2. MUTUAL CO-EXISTENCE • THE MUSIC AND MOVEMENT EXIST ALONGSIDE EACH OTHER AND BARE NO RELATIONSHIP • THE MUSIC DOES NOT AFFECT THE DANCE IN ANY WAY • SOMETIMES THE MOVEMENT AND MUSIC MATCH BY ACCIDENT

3. DISASSOCIATION

• THE MUSIC AND MOVEMENT ARE PURPOSELY OPPOSITE TO EACH OTHER • FOR EXAMPLE, THE MUSIC MAY BE SLOW AND SAD BUT THE MOVEMENT IS LIGHT AND BOUNCY

4. MUSIC VISUALISATION • THE MUSIC CONTROLS ALL ELEMENTS OF THE DANCE; MOOD, PHRASING, TIMING, RHYTHM AND DYNAMICS • THE MOVEMENT MAY MATCH WORDS IN THE SONG • ACTIONS WILL BE PERFORMED BY A DANCER AT THE SAME TIME IT IS SUGGESTED IN THE MUSIC

5. CHARACTERISATION • CERTAIN SOUNDS IN THE MUSIC IDENTIFY WITH CHARACTERS IN A DANCE • WHEN THE AUDIENCE HEARS THE MUSIC IT BECOMES ASSOCIATED WITH THE CHARACTER AND WE KNOW THAT THEY WILL APPEAR ON STAGE SOON • THE MUSIC ALSO REFLECTS THE WAY THE CHARACTER BEHAVES AND MOVES

FOR EXAMPLE…  A YOUNG GIRL MAY HAVE LIGHT AND CHIRPY MUSIC  AN EVIL PROFESSOR MAY HAVE DEEP, LOW AND SCARY MUSIC

SWANSONG COMPLETE FACT FILE

SWANSONG • CHOREOGRAPHER: CHRISTOPHER BRUCE • COMPANY: RAMBERT DANCE COMPANY • DATE FIRST PERFORMED: NOVEMBER 1987 • DANCE STYLE: CONTEMPORARY WITH PHYSICAL CONTACT AND SOME BALLETIC MOVEMENTS. INCLUDES REFERENCES TO SOCIAL AND THEATRICAL DANCE • DANCERS: 3 MALE DANCERS (ORIGINALLY). COULD USE ALL FEMALE DANCERS OR A COMBINATION BUT BRUCE MADE IT CLEAR THE PRISONER SHOULD NEVER BE THE MINORITY GENDER

Swansong • STARTING POINT/STIMULUS: THE WORK OF AMNESTY INTERNATIONAL, SAYING GOODBYE (TO A CAREER AS A DANCER), THE EXPERIENCES OF CHILEAN POET VICTOR JARA AND THE NOVEL, A MAN, BY ORIANA FALLACI • THEME: HUMAN RIGHTS, PRISONER OF CONSCIENCE • STRUCTURE/SECTIONS: INTRODUCTION FOLLOWED BY 7 SECTIONS. THE VICTIM REMAINS ON STAGE THROUGHOUT AND PERFORMS A SOLO IN SECTION 3 WHICH HAS MOTIFS THAT ARE REPEATED AND/OR DEVELOPED IN SECTIONS 5 AND 7 • CHOREOGRAPHIC STYLE: EPISODIC, DRAMATIC, THEMATIC

SWANSONG STRUCTURE/SECTIONS 1. 2. 3. 4. 5. 6. 7.

QUESTION AND ANSWER TEA FOR TWO THE FIRST SOLO THE SLOW TRIO THE SECOND SOLO THE CANE DANCE THE THIRD AND FINAL SOLO

SWANSONG STRUCTURE/SECTIONS 1. QUESTION AND ANSWER

4. THE SLOW TRIO

6. THE CANE DANCE

IN THIS SECTION, THE CHARACTERS USE TAP DANCE TO COMMUNICATE TO ONE ANOTHER. IT REPRESENTS BEING QUESTIONED IN COURT

THIS SECTION IS ALL ABOUT TORTURING THE PRISONER. IT CONSISTS OF REPEATEDLY MOVING THE CHAIR OUT OF HIS REACH WHILST HE'S STRUGGLING, AND PUSHING AND PULLING HIM AROUND THE STAGE. TO FINISH, THE PRISONER IS HELD UPSIDE DOWN OVER THE CHAIR WHICH PORTRAYS HIM BEING HELD UNDERWATER

THIS SECTION SHOWS THE VICTIM WATCHING THE GUARDS PERFORM A SOFT-SHOE DUET WITH THE USE OF CANES. THE CANES THEN BECOME WEAPONS USED TO THREATEN THE VICTIM, WHO USES THE CHAIR AS A SHIELD

2. TEA FOR TWO THIS SECTION BEGINS WITH THE TWO GUARDS DANCING TOGETHER PERFORMING A COMICAL TANGO DUET WHILE THE PRISONER IS SAT ON THE CHAIR. THE PRISONER THEN GETS DRAWN IN AND THEY PERFORM A TRIO, WITH THE INTERROGATORS HUMILIATING THE PRISONER

3. THE FIRST SOLO THE VICTIM PERFORMS A SOLO IN SECTION 3 WHICH HAS MOTIFS THAT ARE REPEATED AND/OR DEVELOPED IN SECTIONS 5 AND 7

5. THE SECOND SOLO IN THIS SECTION, THE PRISONER USES THE CHAIR IN SEVERAL DIFFERENT WAYS; HE CARRIES IT ON HIS BACK AS IF HE IS HOLDING UP A HEAVY WEIGHT AND HE ALSO HOLDS IT IN FRONT OF HIS FACE AS THOUGH HE'S LOOKING THROUGH PRISON BARS. THIS IS THE SECTION WHERE HE STARTS TO MAKE A DECISION ABOUT WHERE TO STAY; ON THE CHAIR (SECURITY) OR GO TO THE WINDOW (FREEDOM)

7. THE THIRD AND FINAL SOLO THE INTERROGATORS REMAIN ON STAGE DURING THIS SOLO, ALTHOUGH THEY ENDURE A MOTIONLESS POSITION THROUGHOUT. THIS SECTION HAS A MORE OPTIMISTIC FEEL ABOUT IT AS IT SHOWS THE SPIRIT OF THE, NOW DECEASED, VICTIM ESCAPING INTO THE SHAFT OF LIGHT AND FINALLY FINDING HIS FREEDOM

SWANSONG MOVEMENT AND MOTIFS THE FIRST SOLO: • THERE ARE A NUMBER OF ARM GESTURE MOTIFS IN THIS SECTION OF THE PIECE WHICH APPEAR TO BE INFLUENCED BY BIRD MOVEMENT. THIS COULD BE LINKED TO THE TITLE BUT IT COULD ALSO REPRESENT HIM ATTEMPTING TO FLY UP TOWARDS THE SHAFT OF LIGHT. • THERE ARE ALSO SEVERAL MOVEMENTS SUCH AS DEEP PLIES, JUMPS, ARABESQUES AND ATTITUDES WHICH REALLY TEST THE DANCER'S BALANCE. THE SENSE OF STRUGGLE TO MAINTAIN THE POSITION ILLUSTRATES THE STRUGGLE THE DANCER'S FACING TOWARDS HIS ISOLATION. • THERE ARE TWO TIMES DURING THE SOLO WHERE THE DANCER CURLS UP INTO A DEFENSIVE BALL ON THE FLOOR, WHICH DEMONSTRATES HIS TORTURED, TWISTED SOUL

SWANSONG SPACE AND DYNAMICS SPACE: • THE MOVEMENT IN SWANSONG HAPPENS ON ALL 3 LEVELS. THE PRISONER TRAVELS IN MAINLY LINEAR PATHWAYS, THE GUARDS USE A COMBINATION OF LINEAR AND CIRCULAR PATHWAYS

DYNAMICS: • THROUGHOUT SWANSONG, THE DYNAMICS CHANGE QUICKLY FROM FAST AND SMOOTH TO SLOW, JERKY AND BOUND. THESE CHANGES REPRESENT THE CHANGES IN MOOD OF THE CHARACTERS AND THE WAY THE INTERROGATION IS DEVELOPING

ACCOMPANIMENT IN SWANSONG • COMPOSER: PHILIP CHAMBON • MUSIC; ELECTRO ACOUSTIC WITH DIGITALLY SAMPLED SOUNDS, VOCALS, A REED PIPE AND POPULAR DANCE RHYTHMS • FOUND SOUND; TAPPING, CLAPPING, STAMPING • COMPOSED IN COLLABORATION WITH THE CHOREOGRAPHER

SET DESIGN IN SWANSONG • DESIGNER: CHRISTOPHER BRUCE

• TYPE: PROSCENIUM

• BARE STAGE EXCEPT FOR A CHAIR, SUGGESTING A CELL

• INTERROGATORS ALWAYS EXIT STAGE LEFT (SIGNIFYING A DOOR)

LIGHTING IN SWANSONG • LIGHTING DESIGNER: DAVID MOHR

• OVERHEAD LIGHTING • GENERAL WASH OF WHITE LIGHTING • A SHAFT OF LIGHT FROM UPSTAGE LEFT

• FOOTLIGHTS CREATE SHADOWS

EFFECTS OF LIGHTING IN SWANSONG

• SHAFT OF LIGHT COULD SUGGEST NATURAL LIGHT FROM A WINDOW OR A PATHWAY TO HEAVEN

PROPS IN SWANSONG – THE 5 CS CANE

THE CANES ARE INCORPORATED INTO THE DANCE BY THE GUARDS DURING THE CANE DANCE SECTION

CHAIR

COMEDY RED NOSE

THE CHAIR IS USED BY THE GUARDS AND VICTIM IN VARIOUS WAYS THROUGHOUT THE PIECE

THE COMEDY RED NOSE IS USED TO HUMILIATE THE VICTIM IN TEA FOR TWO SECTION

CIGARETTE

THE CIGARETTE IS USED TO INTIMIDATE AND HUMILIATE THE VICTIM IN TEA FOR TWO SECTION

CAPS

THE CAPS ARE WORN BY THE GUARDS IN THE TEA FOR TWO SECTION

COSTUME IN SWANSONG • DESIGNER: CHRISTOPHER BRUCE

• TYPE: EVERYDAY

• PRISONER WEARS RED T SHIRT, BLUE JEANS AND BLACK SHOES

• GUARDS WEAR MATCHING PLAIN KHAKI UNIFORMS

SWANSONG SECTION ANALYSIS •

WE HAVE CHOSEN 3 SECTIONS THAT YOU NEED TO LEARN ABOUT FOR YOUR EXAMINATION. THIS PAGE GIVES YOU A BRIEF OVERVIEW OF EACH OF THE 3 SCENES WITH KEY POINTS IN BOLD

TEA FOR TWO – SECTION 2 •

THIS SECTION OPENS WITH THE INTERROGATORS TAPPING OUT QUESTIONS.

•

THE VICTIM TAPS RESPONSES HOWEVER IT IS MORE DEFIANT THAN THE FIRST SECTION. THE INTERROGATORS PULL OUT A RED NOSE AND PUT IT ON THE VICTIM, FOLLOWED BY PUTTING CAPS ON AND TURNING THE BRIMS UP (THEY ARE CHANGING TACTICS).

•

THE VICTIM GETS INVOLVED WITH THIS WHEN ONE OF THE INTERROGATORS GRABS HIM TO DANCE.

•

THE DANCE IS PERFORMED OFTEN IN UNISON, THE INTERROGATORS PERFORMING CONFIDENTLY, THE VICTIM COPYING AND WATCHING TO LEARN THE STEPS.

•

THE IDEA IS THAT THEY ARE HUMILIATING AND PLAYING WITH THE VICTIM, HE GETS MORE PANICKED AS THE DANCE GOES ON.

•

THE CHAIR STARTS BEING USED MORE WITHIN THE SECTION, BEING MOVED OUT OF REACH, OR AN INTERROGATOR SITTING ON IT AND THEN KICKING OUT AT THE VICTIM AS HE GOES TO REACH IT.

•

THE END OF THE SECTION INVOLVES MOVEMENTS SUGGESTING KICKING AND HITTING OF THE VICTIM, FOLLOWED ONCE AGAIN BY THE TAPPING ‘QUESTIONS AND ANSWERS’.

•

THE VICTIM BEGINS TAPPING HYSTERICALLY AND FRANTICALLY, AFTER THIS HE IS SAT DOWN AND THE NOSE REMOVED (THIS IS DONE SO THE AUDIENCE FEEL IT COULD BE SNAPPED BACK ONTO HIS FACE)

SWANSONG SECTION ANALYSIS SECOND SOLO – SECTION 5 THIS IS PERFORMED WITHOUT AN ACCOMPANIMENT. •

THE DANCE CONTAINS VERY SIMILAR MOVEMENTS TO THE FIRST SOLO; HOWEVER THE CHAIR IS USED A LOT MORE.

•

THERE ARE SUGGESTIONS OF FRUSTRATION AND ANGER, AS WELL AS THE VICTIMS URGE FOR FREEDOM.

•

IT IS USED TO GIVE THE ILLUSION OF SHACKLES, AND BARS. THE VICTIM IS TORN BETWEEN MOVING TOWARDS THE LIGHT OR STAYING WITH HIS ONE ELEMENT OF SECURITY, THE CHAIR. IN THE END HE IS TRAPPED BY THE CHAIR, CHOOSING THE FAMILIAR OVER THE UNKNOWN.

•

THE VICTIM LEANS FORWARD, ONE ARM EXTENDED FORWARDS THE OTHER BACK IN A BIRD LIKE ACTION, IT COULD ALSO BE VIEWED AS A SCREAM.

•

THE DANCER OFTEN MOVES TOWARDS THE LIGHT THAT HAS APPEARED ON STAGE, GIVING THE ILLUSION OF WANTING TO BE FREE. THE VICTIM OFTEN USES DEEP PLIES, ATTITUDES, ARABESQUES AND OTHER OFF BALANCE POSITIONS THAT LEAD ONE INTO ANOTHER, AGAIN USING LOTS OF WING LIKE ARM MOVEMENTS (TRYING TO SUGGEST THE IDEA OF FLIGHT).

•

AT ONE POINT THE VICTIM CURLS UP ON THE FLOOR AND PUTS ONE ARM THROUGH THE GAP IN UNDER HIS KNEE, THIS COULD REPRESENT A TORTURED SOUL

SWANSONG SECTION ANALYSIS THIRD AND FINAL SOLO – SECTION 7 (SIMILAR TO FIRST AND SECOND SOLO) •

THE INTERROGATORS ARE ONSTAGE BUT MOTIONLESS. THE IMPLICATION IS THAT THE VICTIM HAS DIED.

•

THE AUDIENCE ARE WATCHING THE SPIRIT PERFORM THE FINAL SOLO. THE VICTIM PERFORMS SIMILAR MATERIAL TO THE FIRST 2 SOLOS HOWEVER THE MOVEMENTS ARE MUCH MORE BIRD LIKE, TRYING TO SUGGEST FREEDOM.

•

IT FINISHES WITH THE VICTIM TURNING TO SMILE AT THE INTERROGATORS BEFORE MOVING INTO THE LIGHT

NUTCRACKER! COMPLETE FACT FILE

NUTCRACKER! • CHOREOGRAPHER: MATTHEW BOURNE

• COMPANY: FIRST PERFORMED BY ADVENTURES IN MOTION PICTURES

• DATE FIRST PERFORMED: AUGUST 1992

• DANCE STYLE: CONTEMPORARY AND BALLETIC. EXAGGERATED BUT REALISTIC USE OF GESTURES

• DANCERS: 24 DANCERS

NUTCRACKER! • STARTING POINT/STIMULUS: THE CLASSICAL BALLET AND THE MUSIC. IMAGES OF VICTORIAN CHILDHOOD

• THEME: THE NUTCRACKER STORY RETOLD WITH REFERENCES TO ADOLESCENCE, ESCAPISM, FANTASY AND SATIRE

• STRUCTURE/SECTIONS: TWO ACTS WITH NINE EPISODES

• CHOREOGRAPHIC STYLE: A REWORKING OF A TRADITIONAL BALLET. NARRATIVE AND COMIC INFLUENCED BY FILM AND THEATRE. CLOSE RELATIONSHIP BETWEEN MUSIC AND DANCE

NUTCRACKER! STRUCTURE/SECTIONS ACT ONE 1. INTRO 2. PREPARATIONS FOR A VISIT 3. PRESENTS AND PARTY PIECES 4. TIME FOR BED 5. THE REVOLT 6. THE FROZEN LAKE

ACT TWO 7. THE ROAD TO SWEETIELAND 8. BY INVITATION ONLY a. b. c. d.

LIQUORICE ALLSORTS KNICKERBOCKER GLORY MARSHMALLOWS GOBSTOPPERS

9. THE WEDDING PARTY

MOVEMENT FEATURES OF NUTCRACKER! • GESTURAL MOVEMENT FEATURES HIGHLY ALONG WITH FACIAL EXPRESSIONS WHICH HELP TO TELL THE STORY

• PROVOCATIVE MOVEMENT SUCH AS THRUSTING, HIP ROLLS AND LICKING ARE USED THROUGHOUT THE SWEETIELAND SECTIONS AND BY THE KNICKERBOCKER GLORY IN PARTICULAR

• CHILDLIKE, INNOCENT MOVEMENT SUCH AS SKIPS, HOPS, JUMPS, CLAPS AND SPRING POINTS ARE SHOWN IN THE ORPHANAGE AND BY CLARA, FRITZ AND SUGAR

• ALL CHARACTERS PERFORM MOVEMENTS ASSOCIATED WITH THEIR CHARACTERISTICS IN ORDER TO HELP TELL THE STORY E.G. CUPIDS FIRE BOW AND ARROWS, GOBSTOPPERS ARE VERY AGGRESSIVE AND TOUGH

NUTCRACKER! MOVEMENT AND MOTIFS MARSHMALLOW GIRLS ACTIONS • LOTS OF WALKING ON TOES • HEAD GESTURES OF NODDING • ARMS SWINGING IN OPPOSITION AND HOLDING ON TO PROPS OF HANDBAGS AND TICKETS

SPACE/RELATIONSHIPS • THEY USE THE WHOLE STAGE AND TEND TO TRAVEL IN CIRCLES AS IF THEY ARE ON A JOURNEY • THEY STAY TOGETHER LIKE A FLOCK OF SHEEP AT ALL TIMES • USE CLUSTER FORMATION • CLOSE RELATIONSHIP TO THE MUSIC

DYNAMICS • RELAXED FLOWING MOVEMENTS BUT ACCURATE, SHARP AND IN TIME WITH THE MUSIC

ACCOMPANIMENT IN NUTCRACKER! • COMPOSER: TCHAIKOVSKY • THE NUTCRACKER SUITE • CLASSICAL, ORCHESTRAL • COMPOSED IN 1892 FOR THE ORIGINAL IVANOV BALLET

SET DESIGN IN NUTCRACKER! • DESIGNER: ANTHONY WARD

• TYPE: PROSCENIUM, REALISTIC

• LARGER THAN REAL LIFE AND CARTOON-LIKE

• ACT 1 – ORPHANAGE GREY WALLS AND CHECKERBOARD FLOOR, DISTORTED, LARGE CLOCK ON THE WALL

• ACT 2 – SWEETIELAND COLOURFUL, CHECKERBOARD FLOOR

Orphanage

Frozen Lake

Entrance to Sweetieland

Sweetieland

LIGHTING IN NUTCRACKER! • DESIGNER: HOWARD HARRISON

• GENERAL WASH

• GELS USED TO COLOUR SCENES

EFFECTS OF LIGHTING IN NUTCRACKER! • THEATRICAL

• HELPS TO CREATE ATMOSPHERE

• COLOURS HELP TO SET SCENE

PROPS IN NUTCRACKER! THE ORPHANAGE

PROPS IN NUTCRACKER! Prop: Cane Character: King Sherbert Section: Road to Sweetieland

Prop: Ice Skates Characters: Fritz, Nutcracker, Sugar Section: Frozen Lake

PROPS IN NUTCRACKER! Prop: Cigarette Character: Knickerbocker Glory Section: By Invitation Only

Prop: Invitation Characters: Marshmallow Section: By Invitation Only

PROPS IN NUTCRACKER!

Prop: The Wedding Cake Section: The Wedding Party

COSTUME IN NUTCRACKER! • DESIGNER: ANTHONY WARD

• TYPE: CHARACTER COSTUME

• COLOURFUL AND OVER THE TOP

• LITERAL REFERENCES TO SWEETS

CLARA

THE NUTCRACKER

• CHEQUERED JACKET, WHITE TROUSERS, RED BOW TIE

• PLASTIC-LOOKING HAIR AND FACE

• MOVEMENTS ARE STILTED, GAZE IS FIXED AND JOINTS ARE STIFF

THE FROZEN LAKE  Dancers wear stereotypical ice skating attire; white, fluffy edged clothing, woolly hats and long socks  Movement symbolises ice skating

DR DROSS WHO BECOMES KING SHERBET MATRON WHO BECOMES QUEEN CANDY

FRITZ WHO BECOMES PRINCE BON BON

SUGAR WHO BECOMES PRINCESS SHERBET

LIQUORICE ALLSORTS • BLACK, PINK, YELLOW AND BLUE

• LIQUORICE ALLSORTS PICTURES ON COSTUME

• FLAMENCO DANCE

KNICKERBOCKER GLORY • PINK, WHITE AND BLACK

• WHIPPED CREAM HAIR

• MOVEMENT FLUID AND SOMETIMES SLIMY

MARSHMALLOW GIRLS • PINK, FLUFFY SKIRTS AND WIGS

• MARSHMALLOWS ATTACHED TO BODICE

• MOVEMENT IS VERY GIRLY, PRIM AND GESTURAL

GOBSTOPPERS • HARD HELMETS • BLOCK COLOUR AND BLACK • CIRCULAR PATTERNS TO SHOW LAYERS OF SWEETS • DR MARTENS BOOTS MATCHING COLOUR OF SHIRT AND HELMET • MOVEMENT IS PUNCHY, FAST AND CHARACTERS ARE SHOWN TO FIGHT/LIFT

HUMBUG BOUNCER • BLACK AND WHITE STRIPED FULL LENGTH COAT • HAT LOOKS LIKE SWEET WRAPPER • COSTUME IS BULKY TO GIVE THE SAME SHAPE AS A HUMBUG • MOVEMENT IS VERY SIMPLE; WALKING FORWARD AND BACK, GESTURAL

CUPIDS/TWINS

• BLUE AND WHITE STRIPED PYJAMAS

• BLONDE WIGS

• WHITE WINGS

• HELP CLARA OUT, MOVEMENT IS ALWAYS LIGHT AND FLOWING