77 terms

Dance GCSE dance info

Emancipation of Exression choreograher
Kenrick H20 Sandy
EofE first show
May 2013
EofE dance company
Boy Blue Entertainment
EofE starting point
-Music "Til Enda" by Olafur Aurnalds
-final section was created before anything else
-the idea of "emanciating expression"
-being free to express yourself through hip hop movement vocabulary
e of e structure
1) Genesis 2) Growth and struggle 3) The flow of energy between people 4) Emowerment
e of e style
hip hop including (krumping wacking ect ect )
e of e music
at first is urban sounding, and electro
then shifts to being classical , to a fusion piece called til enda. this incorporates classical string instrumentation and urban percussive elements
e of e costume
casual yet clean, designed to enhance the bodies of the dancers.
-pastel blue tshirts, black jeans and grey trainers with a white sole
- hair tied back for facial expressions
-some jewellery to enhance invididuality
number of dances (e of e)
e of e set
there is none.
e of e performance enviroment
smoke gives texture in air around the dancers and is emphasised by lighting
e of e lighting
- intense blue colour
-spotlights are used to highlight individual dancers
- edges of stage arent lit creating a central focus
designed create different moods and different moments, but also work with the music
-highlights transitions
-at one point, the white light is used to highlight the relationship between the soloist and the group -IDEAS OF CONFRONTING TRIALS
sometimes black out/sometimes fades
a lihna curva choreographer
Itzik Galili
a lihna curva dance comany
a lihna curva first performance
May 2009
Ah Lihna Curva dance style
Blends of samba, capoera and contemory
ah lihna curva choreograhic approach
- nearly all motives were composed by improvisation
- Galili asked soloists to choreograph a short solo which stayed inside the checker board lighting
-this was so you could "see the dancers personalities"/ each motif was named after the dancer
ah lihna curva starting point
the name means "curved line" in portugese, and another starting point was Brazilian culture
-celebrating the Brazilian way of life and ability to "live in the moment"
ah lihna curva structure
big ensemble sections interspersed with small sections with more character and more narrative
ah lihna curva music
Percussa, composed by a holland percussion group.
Music is played live, including vocals from the dancers.
ah lihna curva costume
designed by itzik galili
Black vests with different coloured lycra shorts
Colours are carnival inspired and inhance the impact of the lighting
Uniform adds to the feeling of equality
ALC dancers
28 (15 male/13 female)
Ah lina curva lighting
chequerboard effect on stage, that defines line and spacing for the dancers to dance in
the timing and cues is preprogrammed so dictates the speed of the music
performance enviroment ALC
end stage.
Ah Lihna Curva Set
Artificial Things choreographer
Lucy Bennet
Artificial Things company
Stopgap Dance company
Artificial Things first performance
Feb 2014
Artificial Things dance style
inclusive contemporary dance
choreographic approach Artificial Things
dancers actively contributed (e.g wheel chair movement actively influenced in scene three)
Artificial Things choreographic intention
- characters coming to terms with lifes limitations, and feeling the gaze of others
- however, they are still constricted inside the snow globe
- at the end, surrendering to the fact that we all have to live with regret
Artificial Things starting point
Snow covered urban landscape with an isolated figure on a collapsed wheel chair.
Serbian Artist Goran Djurovic also influenced costume
and finally the dancers personal experiences
Artificial Things Structure
3 scenes - we do the last one, which is more pensive
Artificial Things Dancers
4 dancers (2 male/ 2 female)
Artificial Things music
Andy Higgs- futuristic atmosphere
, acknowledging that time has passed
Also used the sound of paper snow.
The sunshine of your smile, is the last section.
costume Artificial Things
wash of blue and green that merge with the backdrop
Looks as if paint in running through the garments- reference to the serbian paintings
Artificial Things performance enviroment
proscenium arch
Artificial Things lighting
designed by Chahine Yarovran. much of lighting just focuses on two spots
opens out in the middle, with a blue wash and warm side lighting
set Artificial Things
influenced by the paintings.
Crudely painted heavy back drop with running paint.
Paper snow is scattered on the floor
Virtine on its side.
Infra choreographer
Wayne McGregor
Infra company
the royal ballet
Infra first performance
November 2008
Infra dance style
contemporary- high speed and angular sinus and hyperextended movement- pushing dancers to physical extremes
Infra choreographic approach
1) show a phrase to the cast- dancers watch and either recreate phrase exactly or do their own version

2) make phrase on a target dancer- others watch

3)set a choreographic task for dancers to complete / involving stimuli and imagery

movement vocabulary is then structured into "sentences" then "paragraphs"
Infra starting point
title means BELOW in latin
presents a portrait of life beneath the surface of the city
T.S Elliot quote "Under the brown fog of a winter dawn/ a crowd flowed over London bridge, so many
structure Infra
mixture of solos duets and ensemble moments
Infra music
by Max Richter
melancholic string melodies with electro sounds and everyday sounds (train whistles(
Infra costume
done by moritz judge, fitted shorts and vests in black white or grey- enables dancers to dance to physical extremes
Infra dancers
12 (6 male 6 female)
Lighting Infra
Lucy carter , lights the width of the stage and focuses on down stage. Colours are used to highlight different sections
staging set Infra
18m LED screen is on the black wall behind - has electronic walking figures on it
Shadows choreographer
Christopher bruce
Infra performance environment
proscenium arch / theatre setting
Shadows Company
Phoenix Dance Theatre
Shadows first performance
November 2014
Shadows Dance Style
combination of classical and contempt- "neo classical"
Shadows choreographic approach
- Bruce does not prepare movement before the rehearsals, so he is influenced by his work with the dancers

idea of a family sitting around a dinner table- table is a big part, and not stationary set

"anxiety of the music" greatly influences content
allowing each family member to tell their own story
Shadows starting point
music was the starting point
european history and tradition
family dynamic, as they deal with an unseen but every present outside force
Shadows structure
semi- narrative - solo.duet,quartet
Shadows music
Arvo Parts Frates/ prerecorded, no break in tempo
lots of broken chords
minor key- creates a dark solemn atmosphere
clear correlation between movement vocal and music in terms of speed and dynamics
Shadows costume
designed by bruce
clearly gendered depicting clothes from 1930s-1940s
,used colours- signifying deprivation and poverty
coats at the end are oversized- showing more poverty
Shadows dancers
4 (2 male 2 female)
performance environment Shadows
end stage
Shadows set
designed by bruce (again). Minimal set within a black box theatre space
includes a table. two stools a coat stand and suitcases all warn looking

allows the audience to enter the narrative of the choreography and the relationships between the family members unfold
Within her Eyes choreographer
James Cousins
Within her Eyes company
James cousins company
Within her Eyes Dance style
contemporary , contact work
Within her Eyes choreographic approach
uses movement from the stage production but in a film environment

works with narrative emotional themes and idea of keeping the dancer off the floor

created through filmed improv aswell
themes Within her Eyes
love, loss, dependency, loyalty, longing, memory
Within her Eyes starting point
love story with a twist - no matter what happens. characters can't be with each other
Within her Eyes structure
narrative, 7 sections
dancers Within her Eyes
Within her Eyes music
composition created specifically for the work/ evolved alongside the choreography
electronic strings and piano blends seamlessly with the choreography
Within her Eyes costume
stylised everyday clothes - his costume is dark and hers is light, creating the allusion she is floating in space- links him to earth and gives her a celestial feel
Within her Eyes lighting
natural light from the environment - daytime-evening
this shows the passage of time of their relationship
darker setting towards the end also adds to the intensity and intimacy of the final section
Within her Eyes performance environment
Site sensitive- dance for camera
Camera started very far away giving the feeling that the dancers are completely isolated
the viewer is a secret observer
gradually moves closer
then moves up to their faces
Shot with a camera on track-giving it a very smooth quality
last section is handheld- reflected the woman heightened emotional state
Within her Eyes set
remote locations, more isolation feelings and isolates characters separation from society
location goes from large open spaces to more intimate settings
shows passage of time- their relationship getting more intimate