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28 Cards in this Set

  • Front
  • Back

SWANSONG:



Choreographer

Christopher Bruce

SWANSONG:


Company

Various, including Rambert Dance Company

SWANSONG:


First Performance

London Festival Ballet (English National Ballet) 25 November 1987


First performed by Rambert Dance Company 12 April 1995

SWANSONG:


Dance Style

Contemporary, with physical contact and some balletic movements. Includes


references to social and theatrical dance.


SWANSONG:


Choreographic


style

Episodic, dramatic, thematic.


SWANSONG:


Theme

Human rights; prisoner of conscience

SWANSONG:


Starting point

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.

SWANSONG:


Structure

Introduction followed by seven 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.

SWANSONG:


Dancers

3 dancers, normally male.

SWANSONG:


Accompaniment


Philip Chambon


Composed in collaboration with the choreographer.


Electro-acoustic with digitally sampled sounds, vocals, a reed pipe and popular


dance rhythms. Unaccompanied interludes enable us to hear the tapping of feet.


The score for the more lyrical solos by the victim includes the sound of a reed pipe.

SWANSONG:


Costume

Christopher Bruce


Everyday clothes associated with roles - uniforms for the interrogators and jeans


and T-shirt for the victim. Interrogators also wear baseball caps and the victim


wears a clown’s red nose in one section.

SWANSONG:


Lighting

David Mohr


Overhead lighting and a diagonal shaft of light to suggest natural light from upstage


left. Footlights create shadows. Atmospheric. Overhead lighting focuses on the


area of the chair during interrogation and when the victim is alone.

SWANSONG:


Set

Christopher Bruce


Bare stage except for a chair, suggests a cell. Interrogators always exit stage right


suggesting a single door. The chair has many purposes and is used symbolically as


a weapon, a shield and shackles. Props (canes and a red nose) are used to


degrade the victim.


SWANSONG:


Staging

Proscenium

PERFECT:


Choreographer

Kevin Finnan and the dancers

PERFECT:


Company

Motionhouse

PERFECT:


First performance

January 2005

PERFECT:


Dance style

Combines dance theatre and aerial work. Strong physicality and contact work. Style


uses and defies gravity.

PERFECT:


Choreographic


style

Physically adventurous and ‘filmic’. Strong emotional content. Finnan always begins


with the set. Collaborative.

PERFECT:


Theme

The way we witness time and how as a force it pulls and shapes us, drawing upon


the concepts of waiting, nurturing, time flying by and the ageing process.

PERFECT:


Starting point

Space and time. A book called The History of Barbed Wire

PERFECT:


Structure

13 sections

PERFECT:


Dancers

3 women & 2 men

PERFECT:


Accompaniment


Sophy Smith and Tim Dickinson


A mixture including percussion, voice, electric guitar. Creates atmosphere,


sometimes matching and sometimes contrasting with the movement content

PERFECT:


Costume

Claire Armitage


Simple, everyday, gender-specific. Men wear white shirts and black trousers.


Women wear short, strappy, black dresses. Clean lines and shapes, adapted to


work around harnesses for flying.

PERFECT:


Lighting

Mark Parry


The lighting works with the film and the set, sometimes sharpening the focus, other


times layering the image. In some sections lighting divides the floor space and


creates shadows. In other sections purple and gold lights achieve a bright, colourful


effect.

PERFECT:


Set

Simon Dormon


Box frame set: a white box gradually revealing a wire cage. Many different uses.


Set includes projection, sand, a paper screen, water, a gauze screen and slings.


Rakes and brooms are used as props.

PERFECT:


Staging and film

Theatrical


Film by Caroline Bridges.


Film within performance adds another layer to the choreography and meaning. Film


is used to set the scene, light the dancers and interact with the dancers.