A Linha Curva: Choreographer
Itzik Galili
A Linha Curva: Company
A Linha Curva: Year Premiered
A Linha Curva: Dance Styles
Samba, Capoeira, Contemporary
A Linha Curva: Choreographic Approach
Collaborative - Dancers made own solos
A Linha Curva: Stimuli
Curved line, Brazilian culture, celebration
A Linha Curva: Number of Dancers
A Linha Curva: Structure
Curved line, both narrative and ensemble sections
A Linha Curva: Performance Environment
A Linha Curva: Choreographic Intents
Having fun, celebration of Brazilian culture, samba parades, men showing off and competing for women
A Linha Curva: Actions
Swinging, curved and straight arms, low second positions, capoeira swinging kicks, Samba footwork and ripples, Samba hip rotations, Contemporary parallel
A Linha Curva: Dynamics
Energetic, bouncy, rapid/slow fluid sustained (Adage Septet - mysterious atmosphere)
A Linha Curva: Space
Clear changing formations - linear from side directions, DS to US, cross formation, diagonal lines, scattered, range of levels (floorwork, jumps and lifts), range in size of actions
A Linha Curva: Relationships
Mirroring, accumulation, counterpoint, contact, formations, complementary (All add interest and show ensemble working together)
A Linha Curva: Motifs
Robson (swinging arms), Liris (shoulder roll), Showing off/travelling motif
A Linha Curva: Motif development and variation
Robson varies in direction (to/from audiencs to stage Left), embellishment eg lunges added to torso rotations
A Linha Curva: Choreographic Devices
Unison (Opening/Robson/shows ensemble+power), Canon (dancers enter from SR) - contrast to unison sections, Motif dev. + var. (direction/embellishment) enhances theme of fun, Accumulation - adds interest/builds to climax, simultaneous canon - provides contrast
A Linha Curva: Choreo. intent realised in movement
Havin fun/celebration - big + bold actions with energetic dynamics, linear pathways show carnival parades (celebration). Men pursuing women - travelling towards her in diagonal formation, big actions/dynamics, chants to draw her attention, Showing off - big actions and lively dynamics with characterisation
A Linha Curva: Relationship with aural setting
Direct correlation (esp. Adage Septet), Music visualisation ('ting' as chin hits forehead), chants as they jump in showing off section, Complimentary style - percussion compliments samba and capoeira.
Within her eyes: Choreographer
James cousins
Within her eyes: Company
James Cousins dance company
Within her eyes: Year premiered
Within her eyes: Style
Contemporary Contact
Within her eyes: Choreographic Approach
Filmed improvisation with different rules (not looking, pulling away, intimacy)
Within her eyes: Stimuli
Love story with a twist, love, loss, dependency, loyalty, longing, memory
Within her eyes: Number of dancers
Within her eyes: structure
Prologue with 6 continuous sections in one seamless journey
Within her eyes: Performance environment
Site-sensitive (dance film)
Within her eyes: Choreographic intent
High emotional intensity, abstract love story, female leads all movements, total contact/female never touches the floor, Narrative (female's pull to lost lover, trying to move on with man who cares for her, opening/closing movements)
Within her eyes: Actions
Simple/pedestrian (hair behind ear, wrapping around body), female reaching away, opening and closing actions, poignant eye contact, contact (lifts, counterbalances, circling around male), female leading apart from final section
Within her eyes: Dynamics
Slow/controlled (beginning), fluid/flowing, quicker/urgent(forest), calm delicate (wrapping/kneeling), fast/free flowing (sense of struggle), slow/heavy/passive (female at end/giving up)
Within her eyes: Space
Close proximity (intimate and complicated relationship), female direction towards sky (grieving/longing for past lover), female lifted to mid/high levels (support/dependency on male), low level in kneeling (intimacy)
Within her eyes: Relationships
Contact (characters intertwined, female never touches floor, getting closer showing developing relationship), lead and follow (female leads until end struggle), action reaction (male responds to all female actions - uncertain character), complementary (shared feeling and affection, both arching backwards)
Within her eyes: Motifs
Reaching away (female balances on male, extends right leg away from male), wrapping (female lead movement, using hand to wrap around male arm to support into lift), lifting (male lifts female at hip joints high above, female hands on shoulders, 90 angle at hip, legs in pike position downwards)
Within her eyes: Motif development
Reaching away - instrumentation (one leg/arm/top of head), wrapping in different directions/parts of bodies, lifting - legs in second not pike, lifted backwards with chest to sky and back arched, male on low level
Within her eyes: Choreographic Devices
Repetition (slowly walking - long period of time, reaching - grief/longing, opening and closing - inner turmoil). Highlights - sudden falling (suspense), looking at each other - changing relationship. Contrast - flowing movements change to urgent/quick ones (interest/change in relationship/female becoming distressed). 2 Climaxes, quick spirals and urgent dynamics (tension) then sudden calm - looking at each other for first time, pace/energy/urgency builds at end - final struggle.
Within her eyes: How choreographic intent is realised
Abstract love story - non-traditional (female leading movements, unhappy ending), loving relationship(never touches floor - care and support, opening and closing movements - affection and intimacy towards male and late lover. High emotional physicality - daring choreography and emotive characters - provoke audience response
Within her eyes: Relationship to Aural setting
Direct correlation, 2 clear halves (structure, narrative, climaxes). Same phrasing. Emotive strings and piano - fragile/tentative choreography. Dancers respond to phrasing and feel rather than the counts of the music. Music visualisation - pause for first look - intimacy and makes it clear highlight
Artificial Things: Choreographer
Lucy Bennet
Artificial Things: Company
Artificial Things: Year Premiered
Artificial Things: Style
Inclusive contemporary
Artificial Things: Choreographic Approach
Collaborative - developed from JonUes' movement in wheelchair
Artificial Things: Stimuli
Image of isolated figure on collapsed wheelchair as if in snow globe, 'untold secrets' collection by Djurovic, personal experiences
Artificial Things: Number of Dancers
Artificial Things: Structure
S1: underlying tension, S2: seeking liberation, S3: aftermath of tragedy/pensive dancers
Artificial Things: Performance environment
Proscenium arch
Artificial Things: Choreographic intent
Coming to terms with limitations and confinements, finding resolution through coming together, surrendering the the fact that we are all living with individual regrets
Artificial Things: Actions
Sit, pull, reach, stare, embrace, drop
Artificial Things: Dynamics
Delicate, slow, tender, gentle
Artificial Things: Space
Low level, towards audience, Dave travels from USL to DSR to meet Laura, close proximity
Artificial Things: Relationships
Contact, manipulation, lead and follow, complementary
Artificial Things: Meaning
Characters are pensive and reflective. Loss and isolation as Laura begins on her own - alienated from others. Connection between 2 felt, supportive over dismantled wheelchair. Pauses/stares create filmic atmosphere
Artificial Things: Motifs (scene 3)
Opening duet, Dave's solo - hands rubbing together, shuffling cards memory, unison of textures - high attitude legs, sharp circles, dropping and rippling
Artificial Things: Motif development
Laura arm circles enlarged by Amy/David on mid-high level. Embellishment of leg-attitudes and roles by able-bodied dancers echo Laura's patterns and actions.
Artificial Things: Choreographic devices
Mirroring - show connections, Amy and Laura sitting. Contact - counterbalances, weight bearing, holding and supporting show connection and support. Contrast - Amy contrasting shapes to Laura in gliding section - tilting with right leg raised and knee at 90 angle, Laura turning in wheelchair. Unison - equality. Counterpoint - contrast in level/direction and personal experiences
Artificial Things: Relationship to Aural Setting
Direct correlation - slow minimal piano notes and slow minimal movements performed (Laura and Dave), Dave solo, mouthing words to 'Sunshine of your smile'
Artificial Things: How the choreographic intent is realised
Coming to terms with limitations - opening dancers move slowly/tenderly - pensive/reflective. Finding resolution - unified tableaux - also communicates idea of someone gazing in on them or stuck in Djurovic painting.
Infra: Choreographer
Wayne McGregor
Infra: Company
Royal Ballet
Infra: Year premiered
Infra: Dance style
Contemporary ballet
Infra: Choreographic Approach
Show, make ,task
Infra: Stimuli
Infra, 'below', behaviour of people after the London bombings
Infra: number of dancers
Infra: Dtructure
Episodic: solos, duets, ensembles
Infra: Performance environment
Proscenium arch
Infra: Choreographic intent
Seeing below the surface, inferences - inferring relationships in everyday life, let audience make own interpretation
Infra: Actions (tender duet)
Pedestrian (kissing, holding, hands, leaning heads, holding waist), female peering - lost her way /looking for answers, resting head (female), balances supported by female with high leg extension, arching/dropping to floor(f), nuzzling head, wrapping ,rippling, gallop, arabesque
Infra: Dynamics (tender duet)
Fluid, tender, tense, gentle
Infra: Space (tender duet)
Centre stage, close proximity
Infra: Relationships (tender duet)
Contact, pas de deux, a moment of unison, complementary actions and dynamics
Infra: Frequently used actions(tender duet)
Contraction with arms in 1st - strong emotion - graham contractions - anguish, vulnerability (Male dancer supporting). Pushing head forward - peering into space
Infra: Motif development
Contraction - changed levels, embellishment (nuzzling and leaning), direction and travelling. Peering - different directions, underneath his arm, in different positions (arabesque, contractions, change in dynamics)
Infra: Choreographic devices
Climax - crowd section - large numbers of dancers walking across stage, female dancer crying in centre, counterpoint - 3 male solos at beginning (different conversations) Mirroring - 2 females in section 7 (in similar situations), Contrast - movement material and dynamics in different sections create contrast
Infra: Relationship to Aural setting
Mutual Co existence - section 1: slow/ambient music but rapid/urgent music. Direct Correlation, smooth cello/string phrases and fluid controlled dynamics. Music and dancers changes with each section, new sound effects in each section. Number of dancers relates to number of instruments. More instruments/higher pitch and volume = more dancers.
Infra: How choreographic intent is realised
Below the surface - minimal/pedestrian, hints of narrative and relationships (we don't see whole picture, unaware of what is 'below the surface'. Inferences of relationships - observe glimpses of relationships/convos/life changing in duets. London bombings - crowded people surrounding someone in emotional pain - loss during bombings/panic sadness in crowds/helping one another.
Emancipation of Expressionism: Company
Boy Blue Entertainment
Emancipation of Expressionism: Year Premiered
Emancipation of Expressionism: Dance Style
Hip-hop (krumping, popping, locking, waacking, animation, breaking)
Emancipation of Expressionism: Choreographic Approach
Abstracting Hip Hop movements, working closely with music, using signature movements and style
Emancipation of Expressionism: Stimuli
Music, being free to express yourself as an individual or as a group
Emancipation of Expressionism: Number of Dancers
Emancipation of Expressionism: Structure
Genesis, Growth and Struggle, Connection and flow, Empowerment
Emancipation of Expressionism: Performance environment
Proscenium Arch
Emancipation of Expressionism: Choreographic intent
Sharing emotional journey through hip-hop dance, Life cycle/journey through life, order and chaos
Emancipation of Expressionism: Actions
Locking, popping, krumping, animation (style), pointing, isolations, angular arm gestures, pencil jumps, punching, shunting, ripples, barrel rolls
Emancipation of Expressionism: Dynamics
Staccato, aggressive, powerful, fluid
Emancipation of Expressionism: Space
Opening - circle with female in middle (growth/embryonic stage), scrum formation facing SR (one struggling), clumped formations with dancers breaking out (emancipation/freedom), square/box formation, all levels, 2 clumps - one upstage, one downstage
Emancipation of Expressionism: Relationships
Contact (scrum and final section), unison, canon, contrast, accumulation, counterpoint
Emancipation of Expressionism: Motifs
Ninja static, ninja walk, ninja glide, chariots of fire (signature company motifs - group empowerment, sense of connection)
Emancipation of Expressionism: Motif development
Direction - static walk and glide face different directions throughout. Instrumentation - pointing gestures performed with one or both arms or to different places in the space
Emancipation of Expressionism: Choreographic Devices
Motif - style and signature actions - sense of empowerment/connection to group. Repetition - motifs repeated throughout. Contrast - section 2 variation in dynamics from both formations, in scrum formation: middle person struggling/frantic, scrum still/in control (order and chaos). Unison (motifs/order) and canon(animation section/chaos). Climax - final empowerment section - fast dynamics, full ensemble, build in aural setting
Emancipation of Expressionism: Relationship to aural setting
Direct correlation - close relationship to tempo/intensity of a.s. throughout. Powerful dynamics in locking and popping actions echo bass and beats of hip hop style music. Music visualisation, staccato strings (animation) = intricate, sharp actions. Quick oscillating notes (strings) = quick isolations by body in the action/reaction section
Emancipation of Expressionism: How choreographic intent is realised
Sharing emotional journey through hip hop - ensemble/unison sections (unity/sharing journey), fusion of hip-hop styles - development of hip-hop styles. Life cycle - contrast in sections = contrast/progression in life cycle, beginning formation = growth in womb. Order = unison sections, clear square formations, precise/intricate actions, complementary actions/dynamics. Chaos = canon, counterpoint, accumulation, scrum section with solo dancer struggling, frantic, rapid dynamics, clear formations with some dancers breaking out with contrasting movements.
Shadows: Choreographer
Christopher Bruce
Shadows: Company
Phoenix Dance Theatre
Shadows: Year Premiered
Shadows: Dance Style
Shadows: Choreographic approach
Shadows: stimuli
Music, European history and tradition. Relationship between family
Shadows: Number of Dancers
Shadows: Structure
Semi-narrative, solo, duet, trio quartet
Shadows: Performance Environment
End Stage
Shadows: Choreographic intent
Politics affecting human life, family in deprivation and poverty, what lies outside the family home
Shadows: Actions (son solo)
Running, lifting props, clenched fists, pounding floor, swinging arms, kicks(flexed), rolling, dropping, hiding, gazing towards corner
Shadows: Dynamics
Son: powerful, sharp, aggressive, forceful Daughter: frantic, urgent, rapid Mother: soft gentle fluid Father: controlled, calm, consistent
Shadows: Space
Son: USL to DSR (table to corner), floorwork(low level temper), large pathways (frustrated). All: Return to USL table (centre of family unit), travel to DSR (danger)
Shadows: Relationships (son)
Contact - supporting/lifting daughter, Lead and Follow with father(taking guidance/reassurance), complementary actions(final quartet) - unity/support, unison moments with father - family bond
Shadows: Motifs
Turn to DSR (all), leaning on father in alignment(3 others), tucking hair behind ear(mother), pounding fists(son)
Shadows: Motif development
Head turn - dynamics (slow/apprehensive to quick/sudden), hair tucking - first in plank then ballroom hold (level), lean - direction (to and from audience)/level(mid standing to sitting)/instrumentation(shoulder on shoulder to chest on chest), pounding fists - direction (lying on front to back), level (lying on floor to sitting upright with fists to side of body)
Shadows: Choreographic Devices
Motif/development (individual characters and emotions), repetition(enhances key movements),climax - built to my son's solo, increase in pace power and aural setting,
Shadows: Relationship to aural setting
Direct Correlation - each section of music relates to section/new characters. Frantic strings for daughter's fast footwork, gentler for mother. Double stopping violin with son's distress and climactic choreo.
Shadows: How choreographic intent is realised
Politics affecting human life - varying dynamics - how each character responds, ambiguity of what is outside means can be applied to modern political circumstances. Family in deprivation and poverty - distressed dynamics/supportive actions. What lies outside family home - travelling to/from DSR(exit of home), son uses chair to hide from corner, closing actions (coats/walking forwards) lead audience to believe they are stepping outside family home and wonder what will happen to them
Emancipation of Expressionism: Choreographer
Kenrick H2O Sandy