Swansong

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Choreographer
Christopher Bruce
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Set Designer
Christopher Bruce
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Lighting Designer
David Mohr
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Costume Designer
Christopher Bruce
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Composer
Philip Chambon
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Theme/Narrative
An interrogation of a prisoner by two prison guards.
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Style of Dance
Contemporary Ballet
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Set Design
There is a chair and it is performed in a black box theatre.
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Contributions to Set Design - Narrative/Storyline
The chair is used as a shield by the prisoner. Also, it is used as a weapon by the prison guards. The black box theatre contributions to set design because it is empty so it suggests a cell.
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Contributions to Set Design - Mood/Atmosphere
The chair is used to confine the prisoner to one space and take away his freedom. The black box stage helps to create a dark mood where the dancer looks lonely. The darkness creates a tense atmosphere with the feeling of being trapped.
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Lighting
There is a blue wash for the interrogation scenes. The wash is very pale, almost white for the first two sections, but deepens to a more vibrant blue in the final sections. There are footlights at the dancers feet. There is a spotlight.
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Contributions to Lighting - Narrative/Storyline
The narrative of Swansong is an interrogation of a prisoner by two prison guards. The tunnel of light suggests a high window which is the only link to the outside and therefore represents hope and freedom. It becomes a focal point for the prisoner.
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Contributions to Lighting - Mood/Atmosphere
The main blue wash is stark and cold which supports the sinister mood for the dance. The footlights create shadows which makes the mood unsettling and tense, suited for the interrogation. The tunnel of light supports the mood of the Prisoner's solo.
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Costume - Prisoner
The prisoner wears a faded red t-shirt, blue denim jeans and black jazz shoes. His hair is loose and scruffy.
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Costume - Prison Guards
The prison guards wear identical uniforms - a khaki shirt and trousers. They also wear black jazz shoes with a rubber toe tap. They have gelled, slick back hair.
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Contributions to Costume
It enables the identity of a character. It is easy to pick out the guards with their military 'uniform' and the victim with his scruffy faded jeans and t-shirt. It also supports the theme. It shows status as the guards are wearing matching uniform.
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Accompaniment - Tea For Two
There is a soft whisper of 'cha-pa-chaa.' A deeper moan 'ahhh' is then added followed by tango rhythms played by a guitar. After that, an echoing synthesized flute is then played in the background. Circus melodies are then played. etc...
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Accompaniment - First Victim's Solo
There is a low electronic sound which echoes and vibrates. Over the top of this we hear slow, plodding notes on the keyboard. There are synthesized sounds that echo which could be screams or moans, played in a loop. There is one high pitched yell.
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Contributions to Accompaniment - Tea For Two
There is a comedy element to this section, used to confuse the prisoner as the guards change their interrogation style. The opening 'cha-pa-chaa' creates a lighter feel than we have seen before. The prisoner is humiliated as the section moves on.
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Contributions to Accompaniment - First Victim's Solo
The low electronic sound that vibrates suggests empty space, isolation and loneliness. The use of echo is also important for the same reason - the prisoner is alone and his cries cannot be heard. The screams, moans and yells fade in and out as calls.
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Accompaniment Linking to Movement - Tea For Two
The 'cha-pa-chaa' rhythm is matched by the Guards footwork. There is a circular leg swing on 'ahhh'. The tango rhythms match the tango ballroom movements performed by the Guards. The circus melodies match the clown-like style in the movement.
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Solo Motif - Prisoner
The prisoner starts sitting on the chair. The prisoner then contracts to the floor before reaching forward with his left arm and twisting off his chair, with soft dynamics with his hands curved behind him. He then lifts up and back down.
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Group Motif - Prison Guards
The guards perform this motif in unison. The dancers hop 4 times facing the front, they then jump into second position with fast dynamics, slapping bith thighs, a clap and moving their arm horizontally to the side and sifting their focus.
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Stimulus/Starting Point
Christopher Bruce saying goodbye to his career as a dancer and a book called 'A Man' are both the starting points of Swansong.
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Other cards in this set

Card 2

Front

Set Designer

Back

Christopher Bruce

Card 3

Front

Lighting Designer

Back

Preview of the front of card 3

Card 4

Front

Costume Designer

Back

Preview of the front of card 4

Card 5

Front

Composer

Back

Preview of the front of card 5
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