Chapter 3: The Constituent Features of Dance: Movement: Captive

Question 1

How Does Kevin Finnan use Formation in Relationships between Dancers in Captive?

Answer 1

• 4 dancers allows for square formations to enhance the cuboid dimensions of the performing space
• even number of dancers allows for symmetrical group shapes e.g. the dancers suspended from the top of the cage female dancers hung in arch positions mirroring one another gives the image visual poignancy to highlight the moment and express a theme of rellease or weakness
• symmetry is balanced with less predictable use of space for audience interest
• cluster in the centre back-to- back to suggest isolation from one another facing the world bravely the animals affinity with one another through shared experience by physical closeness

Question 2

How does Kevin Finnan use Relationships between the Dancers in TIme in Captive?

Answer 2

• beginning total unison duets peform same movement in a combat style routine using contact work, based predominatly on the ground (low level) (actions such as rebounding off the cage, head bang, grabbing bar/body parts torso twists) clarity of movement to represent simple mission, escape
• contrasting unison two dancers swing furiously from the bars (high level) two dancers remain static on a low level movements are slow and lethargic to show a kaleidoscopic image of the phases of the caged animals’ pysches
• MADE UP simultaneous canon of motif: jump into bar rebound of step ball change head bang tosro twist with arm gesture soften in the knees look up the effect of the accumulation is builds up tension and expresses the dancers/animals’ aggregation with the repetitive routine

Question 3

How Does Kevin Finnan use Non-Contact, Contact and Other Relationship Possibilities in Captive?

Answer 3

• contact sequences showing action and reaction using the technique question and answer e.g. femal dancer pushes males dancers back he spins around with a swiping arm gesture and female dancer ducks then she jumps onto bar as male dancer spins out the way combat style symbolises conflict between the wild animal and unnatural environment
• male dancers use tensile strength to lift and suspend female dancers in the air from their hands and then their feet
• over under around and through eachother the frame of the cage allows the pssibilty for weaving movements dancers swing and spin on the bars within close proximityemploying a range of levels this enhances the chaotic wildness
• co-operation, isolation confrontation