what do i need to know? - the hazeley academy€¦ · what do i need to know? ... signs of...

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


• ACTIONS

• SPACE

• DYNAMICS

• RELATIONSHIPS

• TECHNICAL DANCE SKILLS

• EXPRESSIVE DANCE SKILLS

• PERFORMANCE SKILLS

• CHOREOGRAPHIC DEVICES

• STIMULI

• MOTIFS

• DANCE FORM

Section B – Choreography and Performance


• NAME OF THE DANCE

• CHOREOGRAPHER

• COMPANY NAME

• DATE IT WAS FIRST PERFORMED

• ACCOMPANIMENT – COMPOSER AND STYLE OF

MUSIC

• COSTUME DESIGNER AND DESCRIPTION OF

COSTUMES

• LIGHTING DIRECTOR AND STYLE OR DESCRIPTION

OF LIGHTING

• SET DESIGNER AND DESCRIPTION OF THE

SETTING

• DANCE STYLE(S)

• NUMBER OF DANCERS AND GENDER OF

DANCERS

• DANCE IDEA OR CONCEPT (STARTING POINT)

• ACTIONS, SPACE, DYNAMICS, RELATIONSHIPS

• STRUCTURE OF THE DANCE (SECTIONS)

Section C – Swansong and Nutcracker

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


• FAT

• CARBOHYDRATE (SUGAR)

• VITAMINS D AND E

EXAMPLES: CHEESE, CHOCOLATE, MAYONNAISE, KETCHUP, SWEETS

FRUIT AND VEGETABLES


• VITAMIN C

• VITAMIN A

• CARBOHYDRATE

• FIBRE

• PHYTONUTRIENTS

EXAMPLES: APPLES, CUCUMBER, SPROUTS

MILK AND DAIRY


• 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

A S D R

ACTIONS

SPACE

DYNAMICS

RELATIONSHIPS

A S D R

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

• ALIGNMENT

• CO-ORDINATION

• BALANCE

• STRENGTH

• STAMINA

• FLEXIBILITY

• MOBILITY

• CONTROL

• MENTAL CAPACITY

What are technical dance skills?

• Any physical skill necessary for dance

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

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 CO-

ORDINATION

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

The back drop can be changed to allow for different scenes

It is a versatile space

It can be costly to hire

The variety of levels can be limited

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


It can help communicate the dance idea

It can be interesting to look at

It can provide a variety of levels, entrances and exits

It can be very costly to put together

The audience may be distracted from the movement

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


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

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


Freedom of anything goes

The dancers can reflect and interact with the design

The audience can make their own interpretation

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

ADVANTAGES DISADVANTAGES 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

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

1. Realistic/Everyday Wear

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


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

Very simple looking

Plain colours so could be boring

Will not always add to the dance idea

2. Dance Wear

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.


It can clearly identify different characters in dance

It can add to the dance idea with different characters

It can help the audience understand

They can be very expensive to produce

Can be difficult to move in

May block the audience’s view

Can be heavy and hot to wear

3. Character Costume

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


Add to the dance idea

Provoke reaction from

the audience

Could be restrictive

The audience may find it

hard to understand

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

4. Abstract Costume

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


(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.


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


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

• 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

SWANSONG STRUCTURE/SECTIONS

1. QUESTION AND ANSWER

2. TEA FOR TWO

3. THE FIRST SOLO

4. THE SLOW TRIO

5. THE SECOND SOLO

6. THE CANE DANCE

7. THE THIRD AND FINAL SOLO

SWANSONG STRUCTURE/SECTIONS

1. QUESTION AND ANSWER

IN THIS SECTION, THE CHARACTERS USE TAP

DANCE TO COMMUNICATE TO ONE ANOTHER.

IT REPRESENTS BEING QUESTIONED IN COURT

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

4. THE SLOW TRIO

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

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)

6. THE CANE DANCE

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

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

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

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

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

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

CANE CHAIR COMEDY CIGARETTE CAPS RED NOSE

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)


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


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

• 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!

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. LIQUORICE ALLSORTS

b. KNICKERBOCKER GLORY

c. MARSHMALLOWS

d. 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

Entrance to Sweetieland

Frozen Lake

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


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

Prop: Cane Character: King Sherbert Section: Road to Sweetieland


Prop: Cigarette Character: Knickerbocker Glory Section: By Invitation Only

Prop: Invitation Characters: Marshmallow Section: By Invitation Only


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

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

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