Cane Dance Flashcards
Expressive Intention
- 1/7 dances of the choreography of Swansong
- choreographed by Christopher Bruce
- themes - prisoner of conscience, human rights & isolation
- guards return to stage the prisoner sits back down on his chair and watches the perform a soft shoe dance with the use of their canes
- canes eventually become weapons to beat up prisoner, in defence uses a chair as shield
- dance together - guards continue to torment prisoner and he collapses and loses strength to defend - guards look with frustration & annoyance
Influence 1 on EI- Amnesty International
- engaged with Amnesty International
- organisation that protects & empowers people from abolishing death penalty to protest sexual & reproductive rights from combating discrimination to refugee rights
- speak out and campaign relentlessly for anyone’s dignity under threat - human rights - stimulus for choreography- influenced by Bruce’s relationship- story based on prisoner of conscience
IMAPCT
- enabled Bruce to develop a deeper understanding of political oppression
- heard victim stories of political oppression- inspired to raise awareness of issue through cruel treatment of individual in prisoner
- exploration of emotional journey of prisoner through oppressive situation whilst being tormented by dogmatic & violent guards
Influence 2 on EI- Experiences of Chilean activist Victor Jara
- personal experience of Chilean folk artist, poet, musician and political activist Victor Jara
- member of communist party of chile during 1973 Chilean coup d’état in cold war
- political unrest between socialist party and congress of chile
- Jara tortured & murdered 1973 being arrested for political activism
- death became international symbol for struggle of human rights & social justice
IMPACT
- Bruce met Jara’s wife Joan after hearing about his horrific treatment
- influencers Bruce to choreograph first piece around political issues - Ghost Dances 1981 - oppression of Chilean people
- Swansong EI drawn from Jara’s experience
- prisoner of conscience = establish idea of political oppression
- reaction of people caught up in some sort of dictatorship = engage broader audience
Influence 1 on MV - Martha Graham Technique
- MG tech introduced in 1960s Ballet Rambert
- 1st modern dance tech established 1930s
- highly interested in exploration of percussive movements and use of gestures, postures, shapes
- tightening releasing abdominal muscles & controlled breathing
- muscle control gave work features of sharp, jagged shapes instead of gentle, rounded lines and sudden jerky movements
- strong use of back & low centre of gravity = strength, use if floor incorporating torso, knees & elbows weight bearing
IMPACT
- core basis of Bruce’s teaching & choreography
- important language = strength, tech, invaluable quality
- fused styles - MG, contemporary with physical contact, ballet, tap, theatre
- incorporated strong use of back through movements in arabesque, attitude, jetes with low centre of gravity, spiralling torso, off centre gravity = lyrical feel
EXAMPLE 1
- dev sec - guards locomotive forward with canes to prisoner torment him, prisoner picks up chair as shield engage in confrontation - cat & mouse
- low centre of gravity, off balance weight placement through floor transitions
EXAMPLE 2
- res sec - p locomotes before descending into floor intimated by back muscles through use of a strong arching body shape blended well with use of gravity before balancing off chair
- highlights a heavy & weighted feeling through movement & communicates p unable 2 escape
Influence 2 on MV - Theatrical Tap Style - Fred Astaire
- CB influenced by American musical theatre particularly by performances of Fred Astaire
- famous for intricate and entertaining tap style
- MV blended with ballroom, largely improvised, relaxed, effortless, fluidity
- used props like hats, chairs
- soft shoe taps and shuffles and upright spine and smooth body line
IMPACT
- soft shoe characteristic in interrogation
- intricate use of footwork communicates a convo b/w prisoner & guards
- CB inspiration of theatrical interpretation = strong performance image
- engages audience, directed drama, MV substitute lines & script
- guards tap out question, prisoner responds
- interpreted with mature manner serious message
EXAMPLE 1
- beg res sec - tap shuffle - tap convo
- g tap out questions p responds in tap - question & answer sequence
- interrogation heating up
EXAMPLE 2
- res sec - g hover around, torment, push and harass p whilst tapping
- speed and frequency of tapping increases - violent interrogation evolving b/w dancers more intimidation towards p
Influence 1 on PA - Lighting - minimalism
- theatrical trend of minimalism major influence for lighting
- minimalism was movement in artistic forms which uses simple style and props to achieve maximum effect
- lighting - David Mohr - overhead lighting = dark, claustrophobic room
- go-go 2 make trips of light across space = bars = prisoner atmosphere - light alternates b/w prisoner on own or with guards
- lighting brighter, warmer with guards = safety
- diagonal light = natural - footlights shadows - the drops = darkness of situation and powerful position of guards
IMPACT
- create imagery and emotion to choreography
- contrast in colour of lighting with light symbolises light hearted emotion to dark light = darkness of scenario and emotion
- dramatic light changes creates impact on audiences emotions
- contrast light creates an image of a prisoner cell,nearing audience with blanks to fill own ideas of the setting
Influence 2 - PA - Costume - Symbolism
- Swansong understood as a universal study in political oppression
- each character portrayed in symbolic terms
- guards - all oppressors/persecutors across the world - not the independent characters
- prisoner - collaboration of many prisoner conscience all around the world
- p story of oppression not confined, but portrayal of political oppression situations
- symbolism signify ideas giving them symbolic meaning different to literal sense
IMPACT
- costumes designed by CB - costume associated with every day clothes
- victim - ordinary, red t-shirt = personal politics beliefs and denim jeans = anyone from around the world
- guards - khaki uniform, dark trousers and light coloured shirts = prisoner isolation & uniform = part of team, soldiers, working for a political regime no military badges
- costumes, basic, simple and effective, can distinguish characters, depicts various emotions allow freedom of movement
- 2 different consumes set 2 groups apart = 2 sides to story
Group Structure - Symmetry
- Beg sec, phrase
- where the bullying starts to take place, the two guards perform a series of turns and elevations that travel across the space. The guards commence the phrase by executing a hop to the left and elevating the left leg up in retire position, with their backs facing the audience that locomotes sideways to the left. Their cane is gripped with both hands and is positioned in the air to the left side in the direction they travel. This is then followed by two pencil turns, with the cane positioned up in the air with both hands, which follows them to the right to transition into a balanced arabesque and elevate into two barrel jumps. The positioning of the guards in the performance space is evenly placed side by side, which emphasizes a balanced feel, creating a sense of strength, cohesion and control. By having the guards arranged together symmetrically, it symbolizes that they have the freedom to move around and are equal in authority and power, and that they are working together to control the prisoner. This also shows the difference in status and power between the guards and prisoner
In the development section phrase 15, ‘a tap conversation’ happens between the guards and prisoner. It’s a question and answer scenario that is set up, as the guards perform a tap combination which portray the questions, as they tap in a circular direction around the prisoner positioned in the chair. And the is prisoner tied to the chair surrounded by both guards on each side, staring at him intently, and answers in a tap combination with a response. The arrangement of the guards and prisoner in the space is symmetrical. The prisoner is seated on a chair that is situated in the centre of the guards who are symmetrically placed side by side which creates a balanced triangular shape and a sense of cohesion and control. The power and authority of the guards is strengthened as they are placed together as a pair. It is as though they have the prisoner surrounded, which signifies the interrogation is heating up.
Group Structure - Asymmetry
In the development section phrase 8, where the bullying continues to intensifies, as the guards elevate and turn to complete a series of barrel turns in a circular direction around each other. With their canes gripped with both hands in the air as they execute the barrel turns. They then separate to turn in opposite directions as the canes still held up in the air, as one guard barrel turns towards the prisoner in the chair. Both the guards in their opposite directions perform a fast ball change of the feet, to flick the left leg to jete turn around to finish facing each other. They finish with their canes still held gripped with both hands placed resting behind their necks. The pose with the opposite leg bent in a stance acknowledging each other with a sly stray face and chins up. The arrangement is not balanced and unevenly spaced, putting more weight and emphasis on the left side of the stage where the two guards are standing. By creating this unbalanced arrangement in the space expresses the guards authority over the prisoner is reinforced to the audience
In the resolution section phrase 18, the prisoner locomotes and performs falling movement’s forwards before balancing up on the chair into an inverted handstand. The positioning of dancers in the space is asymmetrical, as a guard stands alone on one side to the left of the stage while on the other the guard stands with the prisoner, to the right of the stage. This placement is uneven and creates an emphasis on the right hand side of the stage, and a feeling of tension and uncertainty in terms of the life and survival of the prisoner. It indicates that the victim is losing his strength, confidence and ability to fight back and escape, and that he has been overpowered and taken control of by the guards who no longer feel the need to work together.
Group structure - Contrast
In the development section phrase 10, the guards play an evil and sly game of cat and mouse with the prisoner. As the prisoner confronts the guards as they locomote with their canes as they transform them into weapons which restates their control and power. The prisoner picks up the chair and uses it as a shield of protection to block himself from the guards from whipping him. In this phrase all three dancers dance differing movements simultaneously, which indicates it is an example of a contrast group structure. The prisoner begins by shielding himself from the guards with the use of the chair, before transitioning to a lower level onto the floor space to perform a series of turns or rolls. During the same time the guards perform elevations on a high level. This establishes contrast between the dancers and denotes the confrontation and commotion of a fight. The use of contrast level also expresses the internal fear of the prisoner’s state.
In the resolution section phrase 17, the prisoner uses his remaining bit of strength to try attempt an escape from the guards. But every time he attempts to make the effort to escape, he is immediately caught and pulled back down to the chair by the guards, creating a lot of restriction for the chances to escape for the prisoner. The use of contrast is highlighted in this phrase, as the guards perform differing movements simultaneously to one another as well including the prisoner. The movement vocabulary performed in this section includes lifts. The end result feeling that is established is chaotic as the guards work together to pull the prisoner back down and overpower full authority over him. The movements performed by the prisoner signify his desire to escape while the movements of the guards have the intention of overpowering the prisoner.
Group structure - Canon
In the beginning section phrase 3, the two guards perform a series of kicks and the physical skill of transferences of weight, which is performed using a simple canon or a minor time difference. Because a single movement of the movement sequence is commenced by the first guard, and it is then it is followed and repeated by the second guard in which he commences the same movement one count later. The use of a simple canon being performed within the movement expresses that the two guards are on the same side or part of the same team, that they both hold and show equal power, especially over the prisoner, and that they have each other’s back and will always follow one another.
In the development section phrase 12, the guards perform a phrase with the use of body actions of elevations and turns in unison, but then they transition to the floor to complete a simple canon with their canes. The guards finish with their canes positioned pointed towards the prisoner in a threatening manner as though they were weapons. The use of a canon is implied with a single movement of circling the cane performed by one guard, and then is repeated by the next guard creating a simple canon. The effect of this movement repeated one count after the other, it works to intimidate and frighten the prisoner to a greater extent of the guards as they are working as a united team, and the prisoner is then confronted by two weapons in succession.
Group structure - unison
In the beginning section phrase 4, the bullying movements instigated by the guards begin to intimidate and scare the prisoner who is positioned seated on the chair. The guards begin to travel towards the prisoner before performing a series of spiraling movements with their canes and which they whip around in high aerial pathway over their heads. These sequences of movements are performed in unison as they perform the exact same movements at the same time and simultaneously. The effect of this movement phrase in unison restates that the guards are working together as a team which creates unity between them, and are intimidating and bullying the prisoner.
In the development section, phrase 11, the guards complete a series of elevated kicks before travelling to the left hand side of the performance space. Unison is used in the execution of the movement vocabulary as the guards complete the same movements at the same time and simultaneously. This creates the effect on the movement vocabulary to be synchronized, in time and more overwhelming, staggering, paralyzing, nervous and intimidating towards the prisoner. The guards address that they are working as a strong and solid team as they continue to dominate, overpower, torment and harass the prisoner.
Influence 3 on EI -THE NOVEL ‘A MAN’ BY ORIANA FALLICI
Bruce read and was deeply affected by the novel ‘A Man’ by Oriana Fallaci. The novel centres on the torture of the hero, Alexander Panagoulis, condemned to death in 1968 for the attempted assassination of the Greek dictator George Papadopoulos. With the protagonist, Alexander saved from death and put into prison, Fallaci focuses sharply on the process of interrogation of Alexander. Fallaci penetrates the depths of the interrogation process, exposing its cruelty and brutality and condemning political oppression. For example, he writes: ‘In the interest of their success the inquisitor gives them (the victims) carte blanche and waits….hunger strike, thirst strike, aggression, violence opposed to violence, anything to drive them to hit harder and make him faint.’
IMPACT
Bruce used his understanding of the ‘process’ of interrogation’ to inspire and inform the storyline of Swansong. The events and emotional struggle described in Fallaci’s ‘A Man’ reflect strongly with the emotional journey expressed in Swansong. The vicious and torturous methods of interrogation and the terror and fear of the victim as described in ‘A Man’ are paralleled in the intention. Swansong is disturbing in that it shows the interrogation and torture of a prisoner by two guards, incorporating brainwashing, humiliation and physical violence.
