Dance Popular Dance Essay

Published: 2020-01-29 20:30:57
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Category: Dance

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His influences include; 1) Being asked to create a piece in memory of those lost due to chillean political opression. 2) Folkmusic by Inti-illimani. 3) South American traditions, such as the dead living on within other people and mask dances. The piece has 7 sections and 11 dancers (5 women and 6 men) Dance style Folk dance, ballet and modern. Accompaniment: Traditional folk music by inti-illimani. Costume: By Belinda Scarlet.. Men in suits and pants with women in skirts and dresses, giving a traditional stereotype. Skirts extend movement of the women. Rags and trailing elements show the disintergration of the dead.

The ghosts wear masks, matted hair and body paint. The paint defines their body shape and higlights the contours of their bodies as theymove. Masks add mystery and eeriness. Lighting: By Nick Chelton.. Green lighting when the ghosts dance to add eeriness. Red lights when 3 women are suspended in the air, red showing danger and death. Lighting is also used to highlight other deaths and change in scene. Set: Remains the same throughout. Landscape backdrop, dark to fit morbid theme. Meant to show the mouth of a cave (entry to the underworld? ) Rocks at the back of the stage are used by dancers as they remain on stage throughout the performance.

Constant presence of the ghosts = chillean people were always being watched. Action: Reptile like movements by ghosts, like they are hunting their prey. Natural human actions by pesants (sighing and play fighting) showing emotion. Repetition of a squat positions with arms stretched out to audience, shows asking for help and their urgency. Swansong¦ Christopher Bruce Stimulus The work of amnesty international (setting theme of prisoners/torture) Saying goodbye to his dancing career¦ Dictionary def. of Swansong¦ a persons last work or act before death or retirement. Structure Introduction followed by seven sections: Intro.

Question and Answer (tap sequences) Tea for Two (red nose and caps) First solo (victim > lyrical) Slow Trio (dream like effect lighting) Second solo (no accompaniment) Cane Dance Third and final solo Set Design Bare proscenium stage, chair downstage right, exit backstage right. Minimal gives effect of bare prison cell. Accompaniment It was created by Phillip Chambon in close collaboration with Christopher Bruce, therefore their is a direct correlation between the dance and the music. The interludes between the 7 sections are performed unaccompanied building tension, as is the second solo. Lighting By David Mohr.

Overall the stage is quite dark, but there is a diagonal shaft of light from backstage left across to frontstage right. At first it focuses on the chair, but gradually spills over the stage during the dance. During the slow trio a dream like effect is added to the lighting to add to the atmosphere. Footlights are also used. At the end of the dance the shaft of light is lowered to lengthen the shadows of the victim, the victim then follows the light as if finally being released (connoting that death was the only way of escaping the torture being carried out). Form of dance Popular dance (tap, tango) Ballet (solos, arabesques, attitudes).

Contemporary (low centre of gravity) Acrobats (handstands, lifts) Costume Victim¦ Red T-shirt and dark blue denim jeans, with black split sole jazz shoes. Dressed as a member of the public connoting he is innocent and this could happen to anyone. Also, red could connote blood. Guards¦ Khaki coloured uniform, Short sleeved T-shirts with left hand breast pocket, trousers with pockets on, no identifiable military insignia, black split sole jazz shoes, during the Tea for Two section caps are introduced. Props Red nose¦ introduced in the Tea for Two section to humiliate victim. Cigarette and lighter¦ used by guards.

Canes¦ guards dance with them and slap them down on victims chair, makes audience flinch. CHAIR¦ used as: Weapon, shield, prison bars, dunking stand, security blanket, shackles, a heavy weight on his shoulders. Still Life At The Penguin Cafe.. David Bintley Stimulus The doomesday book of animals The design on the sleeve of and album and the music itself. Structure Introduction followed by eight scenes (Episodic). Each scene features a different animal/creature. Lighting By John. B. Read Different coloured lighting adds to the atmosphere and setting of each animals habitat. Spotlights are used to follow dancers.

Dappled effects are used on the floor in some scenes. Cyclorama is used in cafe setting (which also has reflective material on the window panes giving a sense of reality. Costumes By Hayden Griffin. Realistic head masks and cultural influences. Music By Simon Jeffes¦ The Penguin Cafe Orchestra Orchestral, combining country, rock and folk influences. The music has a direct correlation to the dance, eg. The Texan Kangaroo Rat flinches on the floor at the same time the music plays short bursts and moves to the floor at the sound of a drum roll, The Southern Cape Zebra spins and plummets to the ground at the sound of a gunshot.

Dance styles Contemporary Ballet/Classical Hoe Down/American square dancing/Hill Billy Morris/British folk Tango/Waltz/Ballroom Samba/Brazillian African Facts about Nutcracker Choreographer: Matthew Bourne Company: 1st performed by Adventures in Motion Picture, now performed by New Adventures Date of first performance: August 1992 Dancers: 24 in total Theme: The Nutrcracker story retold with references to adolescence, escapism, fantasy and satire. Dance style: Contemporary and balletic. Starting point (stimulus): The classical ballet and the music. Also images of Victorian childhood.

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