Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
34 Cards in this Set
- Front
- Back
|
Choreographer
|
Christopher Bruces
|
|
|
Date
|
1987
|
|
|
Accompaniment designer
|
Phillip Chambon
|
|
|
Lighting designer
|
David Mohr
|
|
|
Length
|
32 minutes
|
|
|
Premiere
|
Teatro Arriaga, Bilbao, Spain 25 november 1987
|
|
|
Narrative
|
A prisoner in a cell, two guards interrogate him to talk. Prisoner refuses. Guards try to get the victim to talk by
- aggression -friendly -questioning -humiliation -fighting -leaving the prisoner alone Parallel storyline Struggle of a dancers life. The victim is any dancer, pushing their body to the limit & beating the effects of ageing. Avoids programme notes to let the audience trigger "a personal & unique reaction in the spectator" |
|
|
Starting points / Stimuli
|
- Human rights & amnesty international
- The book "A Man" -Commedia dell'arte -Swan song |
|
|
Human rights & amnesty international
|
Amnesty internationial = charity for prisoners of war (POW). Swansong was a spin off from Ghost dances which was a response to the political situation in Chile, south america. General Pinochet was the Chilean dictator. Responsible for the disappearances of 100's of people.
-Linda Wilkinson Chair of A.I, gave C.B Honorary life membership of A.I. |
|
|
The Book "A man."
|
By Oriana Fallaci
Imprisonment & Torture of a man wrongly accused of trying to assassinate the Greek president. |
|
|
Commedia Dell'arte
|
Humour through tragedy.
Stock jokes e.g pullnig of trousers in Tea for two. Pedrolino - pathetic character - victim Brighella - bully - Guard Arlecchino - acrobatic, twisted wit and cunning of an amoral child- Guard |
|
|
Swansong
|
Metaphor the end of Bruces dance career
Swans sing beautifully and mournfully just before they die Final gesture |
|
|
Themes
|
Manipulation
Imprisonment Freedom |
|
|
Manipulation
|
Control & power over someone.
Mentally (guards changing of mood, leaving him alone & humiliating victim) & physically (lifting, kicking dragging.) |
|
|
Imprisonment
|
Victim in cell, tortured, questioned.
|
|
|
Freedom
|
From swan idea. Swan like movements seen in victim
- long neck -wings unfolding (arms in second, arms reaching, back arching - Flight & soaring (leaps, arabesques with arms back.) -Elegance (posture, extension.) - Fluid, smooth & graceful |
|
|
Physical setting
|
lights
set design props costume |
|
|
Costume
|
Victim -
Blue jeans Red Tight short sleeved t-shirt Black slit sole jazz shoes Everyday clothing. Hair- messy, free Guards Military style uniforms form south america. Long beige colour trousers Buttoned short sleeved shirts. Slit sole jazz shoes. Hair- Brown slicked back Red nose Caps |
|
|
Set design
|
Black box set.
-black dance floor -black tabs dressing in the sides -black cyclorama (curtain) at the back. Creating cell, isolation, loneliness, focus on movement. |
|
|
Lighting
|
Tunnel of light
-Unstage left, only source of daylight -freedom -Suggests dark claustrophobic room with window Lighting changes when victim is alone 7 with guards. Overhead lighting focuses on chair during interrogation Cold lighting becomes warmer. Start of slow trio - dream like effect |
|
|
Props
|
Straight back, wooden chair
red nose cigarette canes |
|
|
Straight back wooden chair
|
- safe place, security for victim
-support for balances -weapon/ shield -Burden -prison -chain |
|
|
Red nose
|
Section 2 tea for two
Commedia Dell'arte - humiliated. Guards pulls elastic, threatens to let go but then removes it. Causes victim psychological stress. |
|
|
Cigarette
|
Guard use at end of section 2 tea for two.
Shows power. |
|
|
Canes
|
Section 6- The cane dance
- shows music hall/ vaudeville, infront of body with two hands. -walking stick -whip -baton -over and around the body -Sergeants major stick - under the arm -Gun -Weapon |
|
|
Styles
|
Ballet
Music hall/ vaudeville Contemporary Tap Ballroom |
|
|
Ballet
|
Leaps
extended legs posture arabesques attitudes jetes |
|
|
Music hall/ vaudeville
|
Canes
soft shoe shuffle |
|
|
Contemporary
|
Graham
expressive movement uses floor |
|
|
Tap
|
Guards
percussive, rhythmic footwork in Question & answer |
|
|
Ballroom
|
Latin american style of ballroom- tango
section 2 tea for two Partner work, sharp turns of head Aggressive style of dance "Open hold" Spins |
|
|
Music
|
Philip Chambon
Collaboration with Bruce. |
|
|
Instrumentation
|
Originally acoustic sounds then digitally sampled & manipulated.
Restricted number of different sounds to make piece more intense & convey character Metallic sounds - victims harsh reality Flute & wind chimes - spirit of victims struggle. Manipulated voices Cry of a bird Ch-p-cha - comic whisper & menacing Contemporary pop music in tea for two. |
|
|
Relationship between movement & dance
|
h
|
