How does Matthew Bourne use characters to tell an effective story through his choreography?

A mind mapped answer to a January 2009 Matthew Bourne question - this is the way I would answer it.

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  • Created by: Caroline
  • Created on: 11-05-13 11:41
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  • How does Bourne use characters to tell an effective story through his choreography?
    • Introduction
      • born 1960, Walthamstow, East London
      • post-modern practitioner
        • reworks classical ballets, modernising and popularising them
          • makes them more relevant to a wide and diverse audience
      • artistic director and choreographer of his company New Adventures
      • heavily influenced by popular culture, Hollywood musicals and films
      • Bourne aims to tell stories through his works, using characters to do so
    • Character Specific Movement Vocabulary
      • Cupids
        • recycled images of cupids and angels throughout history
          • pulling of the bow and arrow
        • jumping and lifting
          • flying
        • mirroring
          • two - the twins, shows it's a dream world
            • recognisable characters from reality playing other characters in dream
      • Humbug Bouncer
        • STOP motif
          • arm outstretched, palm flexed facing away
            • irony - short, fat humbug as a bouncer
      • Gobstopper
        • agression
          • eclectic style of dance
            • rock n roll
              • headbanging
            • cossack
        • circular movments
          • shape of the sweet
        • pantomime humour
          • slapstick fight
    • Fred Astaire
      • inspired Bourne
      • pedestrian movement moving into dance
        • easier to portray story
        • stylised by Bourne by being performed to dancer's counts
        • Act 1 Scene 1 Dr Dross' Orphanage for Waifs and Strays Episode 1 Preparations for a visit
          • cleaning at the orphanage
            • conveys that they are not well looked after
            • Charles Dickens and Victorian era inspired
    • Music
      • inspiration for the plot
      • followed moments of mime and dance
        • however, followed the plot through the dances
          • Act 2 Scene 4 Sweetieland Episode 7 By Invitation Only - divertissements
            • each character had their own story of getting in to the wedding
              • Marshmallow Girls were lost allowing Clara to enter with them
      • original Tchaikovsky music
        • audience feel at ease with the recognisable music
          • more able to focus on the plot
    • Conclusion
      • characters are key to the plot
        • keeps the audience interested
    • Ensemble Numbers
      • large ensemble numbers inspired by Hollywood musicals
        • performed in unison to dancer's counts
          • each dancer performs in their own character
            • although the actions are the same, facial expression, physicality and body language are different
              • Act 2 Scene 4 Sweetieland Episode 8 The Wedding Party - The Final Waltz
                • dance performed in couples
                  • motif of licking




Superb-  I r8 8/8 m8

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