Describe the choreographic use of dancers in Lady Jane (4marks)
- Dancers move into a circle, men facing outwards, women facing onwards, palms touching in a courtly position. They tend us the LL in front into 5th before flicking the RL behind in a circular movement, before placing RL i front into 5th.
- 4 couples standing in a social dance position upstage, women’s back facing audience, right arm on man’s shoulder, left hanging down by thigh. Downstage, prominent couple do an assisted split leap around in a circle.
As Tears Go By Isolation + Rejection (5marks) - Example 1
Circle of girls while another watches on. The girls rond de jambs into a line and the girl attempts to join the line. They look at her in hostility and she drops into crouched position, w head shoulders + arms relaxed over body.
- Female sexuality in 60s
- Excluded
As Tears Go By Isolation + Rejection (5marks) - Example 2
Girl is sat alone on floor. Male dancer lifts her up to standing by her skirt. She slaps him, before skipping away.
- Childlike behaviour
How does Ruby Tuesday communicate features of her personality? (5marks) Example 1.
She stands on demi pointe, her RL towards, her RA reaching upwards. Her LL is bent at 90*, her hand touching her elbow looking towards her RH. Lyric “She just can’t be chained” reflects how her wrists rotate as her arms and heels lower.
- Untameable, carefree, female empowerment and liberation
How does Ruby Tuesday communicate features of her personality? (5marks)
Example 2
Her LA plays with her hair, as she faces front staring at audience absentmindedly. Indicates her to be a daydreamer, freedom from societies restraints.
- 60s Hippy movements
- LSD and drug culture
How does Ruby Tuesday communicate features of her personality? (5marks)
Example 3
Looks at audience, twirls hair in RH, smiles before running towards the men at the back and launches herself into their arms. They throw her into the air and she does a full 360 pirouette horizontally.
- men are back up dancers - powershift
- sexual freedom of 60s
- female sexual autonomy and ownership
Explain how the movement material of the final dance ‘Sympathy for the Devil’ is structured. (5marks)
- begins with male soloist performing rooster strut SR
- he is joined by another male.
- duets change and later all 5 men are on stage in a U shape. they perform bow motif from ‘Lady Jane’.
- Women introduced by leading male, enter UC in a line
- they dance a duet and a trio
- men take over again, large leaps, form V shape
- Section turns into a celebration of all the pieces
- Female and 2 males trio from ‘LRR’
- Sections then come in order and dancers repeat previous motifs.
- ends with males and females separating to SR + SL, males grooming and strutting and women repeating LRR motif
- To conclude, leading male dancer exists ensemble and starts to CS, adjusts tie and does head isolation (chicken) to audience.
CYCLICAL STRUCTURE
Bruce Context
- Born in Leicester 1945
- Introduced to dance by his father, believing it would be a useful career and would strength
his legs which had been damaged by polio - Early training : Benson Stage Academy - learned ballet, tap and acrobatic dancing
- Studied with Rambert school from age 13
- Joined Ballet Rambert in 1963
- Performed and choreographed for a plethora of other companies until returning to Rambert
in 1994 as Artistic Director and premiered his work ‘Rooster’. - Considered one of the best male interpreters of modern dance in Britain, recognised as an
artist of intense dramatic power. Established in the title role of Glen Tetley’s Pierrot Lunaire. - Performing career largely with Ballet Rambert
- Last major role was in 1988, as he was becoming increasingly in demand as a freelance
choreographer.
What influenced Bruce?
- Walter Gore : performed in his company London Ballet in 1963, whilst a student at Ballet
Rambert, Gore was a pupil of Massine and Rambert in the 1930s. He influenced his - Norman Morrice : He was interested in
comment. He also introduces Graham technique to be taught alongside ballet. - Glen Tetley : taught Bruce that ‘the motive for the movement comes from the centre of the body’. Used ballet and in his dances. Bruce’s preference for can be for Ballet Rambert in 1967 and 1970. Her works were socially and politically .
- Marie Rambert : emphasised the need for theatricality in dance. Influenced his belief that . For many of Bruce’s early works the electronic abstract presentation of social and psychological realism.traced back to this.
- Anna Sokolow : danced for the Martha Graham Company. She was a guest
choreographer exploring contemporary themes and social Graham vocabulary minimalism in stage setting, distinctive costume design and atmospheric lighting aware and often used popular music dance should be independent from music. score was added when the choreography was almost complete
What are Bruce’s stylistic features?
- Pedestrian movement
- Range of styles; ballet, contemporary, jazz and social dance
- Folk dances
- Contrast (eg. stillness and intricate footwork)
- Ballet and Graham technique combined (extended lines of ballet, with off balance tilts)
- Dramatic, emotional pieces with clear themes
- His choreography usually makes statements about cultural, social, political and historical
events portrayed through theatrical elements. - His works are intrinsically linked to the music and often form the the foundation of the piece
- Prefers his audience to keep an open mind about his works, often avoiding programme
notes and specific statements
What were the starting points of Ghost dances?
- Bruce first heard the music 2 years before creating Ghost Dances.
- Bruce was asked to create a dance for the Chilean Human Rights Committee.
- A book about Victor Jara’s murder during General pinochet’s rule
- South American Rituals and cultures like the ‘day of the dead’
What is Vaudeville Dance?
Vaudeville dance = musical comedy dance - Rooster + Swang song have slight humorous intentions (ie. use of tap etc.)
