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. 

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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. 

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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


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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. 

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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


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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.

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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


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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 

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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


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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.

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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


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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


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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.

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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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