What are the origins of “Rooster” (1991/94)?
Bruce always interested in exploring his teenage years - including the peopler and music.
Initially the work was celebratory, but through the lyrics the dark humour, wit, and social commentary emerged
What are the key themes of “Rooster” (1991/94)?
- Battle of the Sexes
- Male Chauvinism
- Rejection and Isolation
- Childhood behaviour
- The 1960s
- The Rolling Stones music
- Courtship
What is the context of the creation of “Rooster” (1991/94)?
- “In this work, nobody dies. We’re going to have fun”
- Some of Bruce’s works like “Ghost Dances” (1981) that were mounted on the Ballet du Grand Theatre de Geneva were dark, but the aim of “Rooster” (1991/94) was to celebrate the music.
- The songs were chosen in a non-abstract way, as they created the movement and meaning - which is why there is a range of themes.
Who is part of the design team for “Rooster” (1991/94)?
Choreography & Lighting - Christopher Bruce
Costuming - Marian Bruce
Music - The Rolling Stones
Lighting - Tina MacHugh
What are the sources of movement in “Rooster” (1991/94)?
- 1960s social dance
- Courtly dance
- Ballet Contemporary
- Animalistic movements
- Childhood behaviour
- Pedestrian gestures
- Lyrics and themes from the music
Describe the male costuming for the majority of “Rooster” (1991/94)
Each male dancer wears a vivid velvet jacket of different colours, alongside different coloured shirts with ties that have different colours and patterns on. They wear black trousers meant to look like jeans, and black jazz shoes.
The costume is inspired by Mick Jagger’s Dandy phase, and the variety of colours in contrast to the female costume helps portray male superiority.
Describe the male costuming for the majority of “Rooster” (1991/94)
The females all wear a tight black Mary Quant Shift dress, with red inserts in the skirt pleats, black tights and black jazz shoes.
Same costume reduces female to their gender. Red box pleats symbolises love and lust.
When does the male costuming change?
In section 5, Paint it Black, the male soloist in the red shirt has no jacket on to highlight his vulnerability.
In section 6, Ruby Tuesday, the four males have black jackets meant to represent backing singers.
In section 8, Sympathy for the Devil, all the 5 male dancers have taken off their jackets to reveal their celebratory, vivid, brightly coloured shirts underneath.
When does the female costuming change?
In section 5, Paint It Black, the three female dancers wear shorted black shift dresses, without the red box pleats, but with a red scarf around their neck.
In section 6, Ruby Tuesday, the female soloist wears a red dress, with a Graham inspired skirt, long sleeves, barefoot, and her hair in a ponytail.
In section 7, Play with Fire, the female holds a full, red feather boa.
