Dance
- Created by: Sweettilly
- Created on: 12-06-19 19:13
Shadows
Choreographer- Christopher Bruce
Company- Phoenix Dance Theatre
Dancers- 2 male, 2 female
Structure- Semi-narrative, Solo, duet, trio, quart
Dance style- Modern: a combination of classical and contemporary
Choreographic approach- Collaborative narrative
Choreographic approach- Political awareness, deprivation, poverty, the reality outside the home. 'A darker work with a sort-of narrative'
Stimulus- Arvo Parts 'fratres' for violin and piano.
Aural composer- Arvo Parts
Aural setting- Fratres version for violin and piano. No break in tempo, broken chords, diatonic scales, minor keys.
Shadows PART TWO
Costume designer- Christopher Bruce
Costume designer- Clearly gendered era of the 1930s and 40s: simple shirts, skirts, trousers and dresses as well as large overcoats worn at the very end of the piece. Colours are muted and worn down. Towards the end of the piece they put on shoes and coats
Lighting designer- John B Read
Lighting- Creates an intimate space on stage/a room.
Performance environment- End stage
Set designer- Christopher Bruce
Staging/set- A minimal set within a black-box. Includes a table, a bench, two stools, a coat stand and suitcases.
Lihna Curva
Choreographer- Itzik Galili
Company- Rambert
Dancers- 15 male, 13 female
Structure- Ensemble with repetition and formations- dictated by grids. Mixed with narrative and character, exploring the competitive nature of males.
Dance style- Samba, capoeira, contemporary
Choreographic approach- Collaborative- motifs composed of improvisation
Choreographic intention- Simply have fun- with contradictions. Regimented straught line- a sense of samba parade. How Brazilian men and women communicate.
Stimulus- Brazilian culture- a celebration of the way of life and ability to live in the moment
Aural composer- Percossa, a percussion group based in Holland
Lihna Curva PART TWO
Aural setting- Includes vocal sounds, is played live by four percussionists and is influenced by Brazilian samba music. The dancers also contribute to vocal sounds.
Costume designer- Itzik Galili
Costume designer- All dancers wear black vests with different coloured wet- look lycra shorts. Carnival colours. Metallic disc-shaped collars to begin.
Lighting designer- Itzik Galili
Lighting- Timed and coloured chequer-board effect on stage defines the lines and spacing fo the dancers.
Performance environment- End stage
Staging/set- Empty- besides raised platform for the percussionist. In one section skateboards are used to propel 5 dancers across the stage.
Artificial things
Choreographer- Lucy Bennett
Company- Stopgap dance company
Dancers- 2 male, 2 female
Structure- Narrative. 3 scenes (only study scene three) Duet, contact, trio, solo.
Dance style- Inclusive contemporary
Choreographic approach- Collaborative- inspired by wheelchair movement
Choreographic intention- Coming to terms with life's limitations- living in confinement- subject to gazing at the other. Constriction in the snow globe.
Stimulus- A snow-covered urban landscape with an isolated figure perched on a collapsed wheelchair. Paintings by Goran Djurovic. The dancer's personal experiences.
Aural composer- Andy Higgs
Artificial things PART TWO
Costume designer- Anna Jones
Costume designer- Costumes are blue and green- paint running down- merging with the backdrop. Outer garments worn in previous scenes, such as jackets and jumpers, are removed to depict that time has moved on
Lighting designer- Chahine Yavrovan
Lighting- CMotly lighting focuses on spots. It opens out in the middle, with a blue wash and warm and cool side lighting before closing down to another spot for the final solo.
Performance environment-Proscenium arch
Set designer- Anna Jones
Staging/set- Influenced by paintings by Goran Djurovic. A painted backdrop: calming. Vitrine on its side with a snow drift inside the cabinet. Paper snow scattered on the ground in a diagonal from the vitrine to Laura DSR. In front on the vitrine- 2 stools and a headless suit on mannequin legs on a 3rd stool, Flooring is grey with wooden frame. Idea od audience looking into a snow globe.
Emancipation Of Expressionism
Choreographer- Kendrick H2O Sandy
Company- Blue Boy Entertainment
Dancers- 9 male, 8 female
Structure- 4 sections:1-Genesis 2-Growth and struggle 3-Connection and flow 4-Empowerment
Dance style- Hip hop; krumping, popping, locking, animation, breaking and whacking
Choreographic approach- Exploring hip hop moves in a contemporary way. Musicality
Choreographic intention- Hip hop as a tool for expression to affect an audience. Themes of order and chaos
Stimulus- Music 'Til Enda' by Olafur Arnalds. The idea of being free to express individuality.
Aural composer- 1&2-Michael 'Mikey J' Asante. 3-Max Richter 4-Olafur Arnalds
Emancipation Of Expressionism PART TWO
Aural setting- 4 sections=Auditory journey. 1&2-Original work-urban, powerful drum beats, electronic sounds. 3-'November'- modern classic. 4-'Til Enda' fusion of urban and classical string instrumentation
Costume designer- Kendrick H2O Sandy
Costume designer- Represents the company- casual enhances shape, 'clean' look. Short sleeved blue t-shirts, denim jeans, grey trainers with white soles. Hair tied back. Same everyday jewellery- enhance the individuality
Lighting designer- Kendrick H2O Sandy with the Sadler's Wells Theatre
Lighting- Lighting from above- intense blue. Spotlights to highlight groups Edges in dark- central focus. Used for mood, formation, enhance the aural setting, enhance transitions and dramatic effect, 2nd section- pair of white lights off stage R- focus on relations.
Performance environment- Proscenium arch
Staging/set- Use of theatrical fog/smoke creates texture in the air around the dancers and is enhanced by the lighting
Infra
Choreographer- Wayne McGregor
Company- The Royal Ballet
Dancers- 6 male, 6 female
Structure- Abstract. Solos, duets and ensemble.
Dance style- Contemporary ballet
Choreographic approach- SHOW, MAKE, TASK- structured into sentences and paragraphs
Choreographic intention- Seeing below the surface. The inference of what the body is doing with pedestrian gestures.
Stimulus- 'Infra'- Latin for 'below'. Life below a city. 'Under the brown fog of a winter dawn./ A crowd flowed over London Bridge, so many' T.S. Elliot: The Wasteland
Aural composer- Max Richter and Chris Ekers
Infra PART TWO
Aural setting- Mix of melancholy string melodies with electronic sounds and everyday sounds such as a train whistle.
Costume designer- Moritz Junge
Costume designer-Fitted short, vests, t-shirts in the flesh, black, white, grey colours. One female wears a short wrap around skirt. One male wears long trousers. The females wear pointe shoes. Street clothes are won for the brief appearance of the crowd.
Lighting designer- Lucy Carter
Lighting- Works with structure. Lights the width of the stage and often focuses downstage. Occasionally dancers are lit by shafts of light and at one point 6 rectangles of light frame 6 duets. Colours are used to highlight different sections.
Performance environment- Proscenium arch
Set designer- Julian Opie
Staging/set- 18M LED screen is placed high on the black back wall. It runs the width of the stage, along which there is a mesmerising flow of electronic walking figures.
Within her eyes
Choreographer- James Cousins
Company- James Cousins Company
Dancers- 1 male, 1 female
Structure- A prolouge and 6 sections.
Dance style- Contemporary / contact work
Choreographic approach- Material from the stage version 'There we have been'. Narrative and emotional themes. Collaboration and improvisation.
Choreographic intention- To create a dance film with emotional intensity and energy. Portraying an abstract tragic love story open for improvisation.
Stimulus- Love story with a twist- from personal experience and narratives
Aural composer- Seymour Milton
Within her eyes PART TWO
Aural setting- Commissioned for the work- collaboratively with Cousins. Combines electronic elements with strings and piano creating a haunting and emotive accompaniment that blends seamlessly with the choreography- flowing as one.
Costume designer- James Cousins
Costume designer- Stylised everyday clothes. The female wears a beige shirt and skirt (ethereal, celestial) and the male a khaki jumper and jeans (earthy). The darkness of his costume contrasts with the lightness of hers- illusions of her floating on him.
Lighting designer- Natural Lighting
Lighting- Development from daytime to evening- shows the passage of time in the relationship. The **** darker the setting towards the end of the duet also adds to the intensity and intimacy of the final section.
Performance environment- Site sensitive; dance for the camera
Set designer- Filmed bt Scratch
Artificial things PART THREE
Staging/set- Influenced by paintings by Goran Djurovic. A painted backdrop: calming. Vitrine on its side with a snow drift inside the cabinet. Paper snow scattered on the ground in a diagonal from the vitrine to Laura DSR. In front on the vitrine- 2 stools and a headless suit on mannequin legs on a 3rd stool, Flooring is grey with wooden frame. Idea od audience looking into a snow globe.
Within her eyes PART THREE
Staging/set- Reflects dark atmosphere. Cameras distance- isolation in their own world- viewer as a secret observer. The camera moves closer as the relationship does. Filming done on track- smoothness. Penultimate section- hand-held camera- raw and unstable, set in remote locations- isolation and character separation
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