48 terms

Dance GCSE

Still life choreographer
David bintley
Still life company
Birmingham Royal ballet/ the Royal ballet
First performance of still life
March 1998
Dance styles of still life
Modern ballet with a mix of social and cultural styles to suggest geographical locations, English Morris, African, Latin American carnival. There are also references to contemporary and post-modern dance.
Choreographic style of still life
Episodic. Combines a range of social and cultural influences to tackle a political theme. Theatrical, using characterisation and humour to good effect.
Theme of still life
Endangered species
Starting point of still life
The music and the album cover of the dooms day book of animals by David day
Structure of still life
Eight scenes
Dancers in still life
Nine soloists plus corps de ballet
Accompaniment of still life
Composed by Simon Jeffes for the penguin cafe orchestra.
Re-orchestrated for the Royal opera house/ Birmingham Royal ballet orchestras.
Orchestral, combining classical, rock and country influences.
Costume of still life
Hayden griffin
Combined animal and human characteristics in a dream-like way.
Masks and headdresses have animal features such as curly horn and antennas.
Costumes and accessories have cultural and social references.
Lighting of still life
John B read
Lighting indicates the beginning and end of acts. Follow-spots highlights the dancers. Colour is used to enhance the mood. Bright in the first half and dramatic towards the end.
Set of still life
Hayden griffin
Set in a cafe with chairs and tables, after the opening scene the rest of the dances take place on a bare stage. Props include waiters trays, ever-changing colourful backdrops give a sense of environment, climate and scale.
Staging of still life
Choreographer of faultline
Shobana jeyasingh
Company of faultline
Shobana jeyasingh dance company
First performance of faultline
February 2007
Dance style of faultline
Combines elements of bharata natyam and contemporary, with some pedestrian gestures.
Choreographic styles of faultline
Narrative and cinematic, combines everyday with classical Indian mythology.
Themes of faultline
Youth culture, gangs, the city, gender stereotypes.
Starting point of faultline
Londonstani, a novel by Gautam Malkhami. Peter Gome's film. Music by scanner.
Structure of faultline
Film prologue; three dance sections; film
Dancers in faultline
3 woman and 4 men on the dvd. 4 woman, 4 men on the live performance.
Accompaniment of faultline
Scanner (composer and sound artist)
And errolyn walked (composer for live voice)
Soprano; patricia Rozario
Live and recorded so alive with recorded sounds inspired by back and city life
Costume of faultline
Ursula bombshell
Urban and sophisticated. Shades of black and Grey with brightly coloured ties for men.
Variety of textures for woman - shiny, metallic, flimsy. Each is different.
Lighting of faultline
Lucy Carter
Inspired by the film and street images. Highlights tension and the urban environment.
Enhances the film idea by zooming in, panning out and "painting" the screen.
Floor lights define the space and harshly light the dancers.
Set faultline
Dick straker
A curved wall provides a surface for the film to be projected on, conceals or reveals the singer depending on the lighting. Two curved areas (one large and one narrow) are created for the dancers.
Staging and film faultline
Proscenium with film
Black and white film shot by Peter Gome's. It is projected in two sections, documentary style:
Young men on the street
Then Patricia Rozario
Expressive skills
Makes the performance engaging and allows a story to be projected to the audience, they respond emotionally.
Technical skills
The ability to control what the body does, makes the performance look easy to an audience and develops physicality.
5 main actions
Jump, turn, gesture, travel, stillness
Dynamic key words
Heavy, soft, strong, slow, smooth, controlled, sharp
Where on stage
Muscular power
Characteristic way of dancing
The ability to start and stop movement, change direction and hold shape efficiently.
The range of movement in the joints.
The range of movement in the joins, the ability to move fluidly from one movement to another
Correct placement of body parts in relation to one another
A steady or held position achieved by an even distribution of weight
Ability to maintain physical and mental energy over periods of time
The way the body is held
The use of time or counts to match movements to sound and/or other dancers
Facial expressions
Use of face to show mood, feeling or character
Use of eyes to enhance performance or interpretative qualities
The ability to make unique qualities if the accompaniment evident in a performance
The efficient combination of body parts
How a dancer shows ideas and conveys emotions to the audience