Christopher Bruce | Not Named Practitioner Flashcards
Name and Date Ghost Dances
Christopher Bruce, 1981
What are the starting points for Ghost Dances
South American Clulture + Rituals
South American Music Inillimany
A Letter recieved by Bruce from Jone Jarah about her hustband Victor Jarah who was murdered in a political choop in Chillie
What is the structue for ghost dances
eposodic, 7 sections
Describe a motif in Section 1 and its contribution of ghost dances
wibble trio coming forward
1 person standing on point, 1 person lundgeing and standing in retiré and all head turn to DSL and person 1 and 2 do 2 powerful walks and then all dancers do one more. Smoothly face SR on diagonal on left leg attitude behind with arms in 2nd then wibble down near the floor remaining balenced then step into left leg arabesqué sharply turn head to the audience followed with a right leg scratch on another
The anamlistic movements shows the Chille goverment so bad and evil as inhumane and shows strength and unision of the dictatorship and the arabesuqé and attitude shows ballet influence
Describe the Aural Setting in Section 1 of ghost dances
Silence at begining - mysterious and intimidating
Wind Sound effects - helps to create errie atmosphere
water dropplets
audibal sound of dance - shows strength of dancers , can add to character
pan pipe - identify’s their culture
increase of layers
louder
Identify’s new section
Descibe a movement example from Section 2 of ghost dances
Pony trot tilting head you can do with partner and then also be done in a solo - helps to show happy memory of the dead and that they are content with their past life
Ghosts lift the dead at end of dance by holding the deads body under the arm pits then the dead goes floppy and then is lowered - shows the dead being beheaded by the harsh government that contol Chillie
Describe the aural setting of section 2 in ghost dances
loud
panpie (whistle noice) - happy feel as enhances memories that would have been a part of the South American Culture =
fast
happy
dirrect corrolation
gets faster tempo
build up
has last note then lift then silence then goes back to the section 1 music when the ghosts re appear - shows that the ghost will always have total power over what is going on in thier life and also in their memories
Describe the aural setting in Section 6 of ghost dances
clear beats (drum)
pan pipe slow and singular notes
increases in pace
repeated melody
repeats a snap to the guitar at the begining as ghost begin to appear
**Contribution **
Creates strong + powerful feeling that something is about to happen
offers geographical location of south america
matches playfulness of the dancers
Describe the set design in ghost dances
open stage space - bruce likes clear space to not limit the dancers
7 boulders at the back and side of the stage - ghosts and the sit relax on the them the ghosts on them show that the government are always watching and could come out at any time
tree plant
cave opening that has water mountins , water , open blue sky - help to suggest that they are trapped in this splace with the govenemnt
Describe the lighting in Section 2 of Ghost Dances
bright light warm wash - happy positive memory
dimmer - cold to white
when ghosts come in goes to dark blue/ green
when the “dead” are killed goes to cold sickly green with horizontal line down stage - complements other components with aural setting, focusses on the bareneck of the women that have just been beheaded , highlights moment
Describe the costume of the ghosts in ghost dances
near naked bodies - non human
black body pained muscles - shows physical power of ghosts + government
matted hair
american culture masks - can’t see eyes
ragged black arm bands around elbows and knees
black loin cloths - shows the skin that left of the governemt because they are so evil that they are starting to become inhumane
Describe the costume of the “dead” in ghost dances
red long dress
lose bits help exaggerate
hair tied back in bun
off white shirt, unbuttoned - casual
grey trousers with matching jacket
everyday clothing
ripped tron - shows that the dead have gone through tough things in their past life
vents
long tie
tuneck
brown knee length trousers - varity of backgrouds of the dead
Describe the Section 5 of Ghost Dances
Is a fun part of 2 people showing off to each other and ekokes the walk of a Llama
Smacking bumb with right hand facing SL - shows humor and teasing each other
bouncy walks with back going up and down developed and repeated
piggy back
Describe a movement example from Section 4 of Ghost Dances
fast movement
use of whole stage
The young boy in 2nd position facing DS and women sits on right tigh then women abrupty hip bumps her off = shows the fun flirty character of the young boy trying to get with the ladies
5 runs in a semi - circle to face DSL, then ron de jambe then sharply turn into retire, then walk USL then turn back and shift weight from left to right foot = helps to show payful atmosphere
Describe the Aural Setting in Section 5 of Ghost Dances
light hearted guitar is in direct corrolation to the males movement = marks the momemt as the music will elivate with the movement
What are the props in section 5 of ghost dances
elongated blue pattern tie is used as a leash = show animal of lama being convayed
Describe the movement in section 6 of ghost dances
lady in red starts to perform 3 sudden, slow parallel squats with arms out streched infront, travelling from USC to USR. Steps right leg starting behind side front jump into same squat slowly start up, sharp and strongly put left arm and right arm in front of face with hands in fists right leg in attitude facing DS = shows unified memory of the dancers and direct corrolation as clear beats whilst the squats happen
4 dancers on right foot spin 2x with right arm in 2nd and left to sky the plié and turn SR with right food flexed whilst sliding to right food smoothly with arms circled around head. = helps to convay the idea of a memory because of the fun and fast movements that changes direction
Name and Date Cruel Garden
Christopher Bruce 1977
State some of the Historical Context of Cruel Garden
In 1974 Morrice resigned as Artistic Director
John Chesworth became artistic director and wanted to bring in artists to stimulate creativity and focus on theatrical element
Mime and Theatre personality Lindsay Kemp was brought in
What is the choreographic Intention of Cruel Garden
Beauty contasting horror - good vs. evil
Name the stimuli of Cruel Garden
Work of Federico Garcia Lorca
Lorca wrote poems, plays and some music and would stand up for minorities as went to New York and saw mass opression
Was originally from spain
When we went back to Spain from New York there was a civil war and was taken to see his brother in law but hw was already dead, then was killed by the dictator who took over Madrid
Who are some of the Central Characters in Cruel Garden
The Inquisitor - manipulates the bull, dresses as a high ranked officer
The Poet - central character, reprecent Lorca
The Bull - the thug who got into the wrong crowd
The Moon - allies herself eith forces of evil, dancers are affraid of her
Describe features of the Moon Solo in Cruel Garden
Action =floor - based, devlepé, use of spine and torso, cresent shapes, hands to mouth to mime laughing, 5th position
Space= Semi - circular pathway, large space
Dynamics= controlled, fast to eratic, sharp contrast
Costume = white face paint, white knee length trousers
Lighting = Spotlight on moon - circular following dancer, rest of stage un lit
Set = Wodden Ballroom, stairs, ladders and has blood splatters possible death?
Accompaniment = whispers of spanish, screaches, drawn out strings
Name and Date Swansong
Christopher Bruce, 1987
What is the Starting Points of Swansong
Human Rights -> The work of Amnesty international, Chillian Poet Victor Jarah
Commedia dell’arte “Humor in tradegy”
Bruce saying goodbye to dance
What are the Key Themes of Swansong?
Manipulation
Swans
Imprisonment / Interigation
Commedia dell’arte
Describe the actions in The Bull fight in Cruel Garden
The Poet Solo
split leaps
turns
moves with molleta - figure of 8
turned out pirouette
low lean in arabesque
The Bull Fight
Stong walks + arms as horns on a low level
Poet puts flag infront bull, then bull runs towards poet
throws and contact with poet as he “kills the poet”
lundge curved over - repeated
Describe the Space In the Bull Fight in Cruel Garden
circular
horizontal pathway
in bull solo - no direct pathway, high to low levels, large movement
Poet Solo - Medium levels
Describe the Dynamics In the Bull Fight in Cruel Garden
Fast builds in tention = bull pauses as a “tease” then sudden fast, sharp -> powerful and strong
Poet = Calm, graceful, collective smooth
Describe the Relationships In the Bull Fight in Cruel Garden
lead and follow
action reaction -> USR bull run at poet and then turns in pirouette
contact - attitude leaning back and bull raising the poet up then “kills”
Describe the Costume In the Bull Fight in Cruel Garden
poet = white bottoms tight, red fabric tied around below the knee, long sleve tight top ruffled tacket - flamenco?
Bull = smears of body paint + dark eyes, Brown tight bottoms, bare chest, bare legs
Describe the Lighting In the Bull Fight in Cruel Garden
red for second when bull comes on then goes back to normal
spotlight follows the bull around the whole time
on floor has blood splatter
Describe the Set/ Props In the Bull Fight in Cruel Garden
Bull ring, stairs, wooden gate at the back, blood splatters on the walls and floor
Molleta - a wodden stick with a white fabric attached
two wooden sticks stuck into the bull to try and make him more angry - direct reference to the Bull fights in spain where they would stab the bull to try and make them more agressive to the opposer.
Describe the Accompaniment In the Bull Fight in Cruel Garden
Builds in intesity
starts light then becomes rushed, fast pace
Loud Drum beats
poet section = quiet drums, high pitched melody - stings
What is the stimulus of Swansong
Commedia Dell Arte
Bruce Saying Goodbye to dance
Human Rights - The Story of Victor Jarah who was caught up in a political chop in chillie, the work of Amnesty international, the novel called “A Man” which describes the torture of a hero
What is the key themes/ intention in Swansong
Manipulation
Swans
Imprisonment / Interrogation
Swans
What is the structure for Swansong
eposodic semi narrative
What are Bruce’s stylistic features
Political Theme
Fusion of Dace styles - tap, ballroom, folk, flamenco
pedestrian/ everyday movement
minimalistic set does not interfere with dances
graham technique
strong musicality
a strong sense of character
floor work
Ballet
Universal Themes
Name and Date Swansong
Christopher Bruce, 1987
Analyse the action within the Question and Answer section within Swansong
repeated motifs, sat on the chair then handstands
tap shuffles, stomps
eye contact
clicks
pirouette
360 turn spin
Crash Motif - pull of chair guard 1 left arm to left arm and G2 in hinge position with right arm back on low level whilst prisoner gets turned round quickly and prisoner sizzor legs behind. Then guard 1 turn and prisoner turns and leans against G1 then the prisoner goes through through G1’s legs then gets quickly pulled up
Analyse the aural setting within the Question and Answer section in Swansong
singular notes
high pitch noices
creates tension
zylaphone - tapping
starts in silence then can hear audible sound of dance - stomps gunshot - happens later but louder
Analyse the Lighting in the Question and Answer section within Swansong
white wash across the stage, dull light
dim around edges - gives central focus
clear - cell like feel - gives location\
Analyse the Relationships, Dynamics, Space within the Question and Answer section in Swansong
Relationships - contact, call and response
Dynamics - slow -> quick, smooth with sharpe heads
Space - chasing pathway, starts CS
Analyse the costume of the guards in Swansong
begie coloured trousers with brown belt pockets. Tucked in beige shirt unbuttoned, short sleeved
split sole hard jazz shoes
Analyse the prisoners costume within Swansong
blue denim jeans stretched
red short sleeve t shirt
jazz shoes
Analyse the Aural Setting of Tea for Two within Swansong
start + end in silence
audibal sound of dance - taps, chair movements
recorded vocal sounds
repeated melody guitar
strings
pre recorded claps
maracas shaking
upbeat - light hearted atmosphere
Analyse the Lighting of Tea for Two within Swansong
bright white wash across the whole stage - cell location
-> brighter / warm as soon as guards put brim of hat up - then switches back in fish dive hang
Analyse the use of Space in Tea for Two within Swansong
side to side
guards watching
guards mostly medium level
large movement horizontal pathway
end and start CSR
Analyse the Actions in Tea for Two within Swansong
Partner work - ballroom and Tango - done by the guards to humiliate the prisoner through the female style
strong moments of eye contact from guard to guard
assisted arm pit jump with X from prisioner and guard lifting
mime kick to face by guard to prisoner - Commedia Dell’arte tragedy through humour.
ends with hard lift to put the prisoner into chair.
Analyse the Relationships in Tea for Two within Swansong
contact - ballroom hold - faces back then big assisted X lift - fish dive lift
Unison - phrase, guards doing slides, turn + slide, kicking feet with left hand shaking -> humour, mocking
Analyse the Aural Setting for First Solo within Swansong
sparkle like sound
shouts of “ahh” “ah” is soft and continuous
repeated melody - echo sounds - another cell?
bird calls - swans
starts quiet and slow
Analyse the Lighting for First Solo within Swansong
corridor of light from USL that gets wider across the stage
darkened edges - sadder vibe
Analyse the Use of Props for First Solo within Swansong
a brown worn wooden chair CSR -> not used apart from start of solo and end - could be the prisoners thought and the chair is the prisoners safety.
Analyse the Action for First Solo within Swansong
head in between legs reaching out to audience.
high elbows -> broken wing
walk towards light
arabesque tilt forward
turn leg in attitude
stomp turn
When voice says “ahh” “ah”
facing USL in a wide parallel focus up as arms go then drop arms ron de jambe to face USL on left leg til extend right arm raised with left leg. Right leg step across on low level in twist legs by turning over left shoulder to arabesque right leg right arm behind then slowly break for right hand to touch R shoulder then left leg low low lundge to front L arm in front R arm to right side
Analyse the Space and Dynamics for First Solo within Swansong
Dynamics - slow to fast when music is fast
controlled
has fast moves eg turns -> could show the stress felt from being entrappe
Space - low level to high, keeps coming back to USL corner - could be a sign of hope.
Analyse the Aural Setting for Final Solo within Swansong
pan pipe - echo low pitched -> higher and fast
strings
drum beat
added layers - > matched movement
faded out as dancer walks of the stage
Analyse the Lighting for Final Solo within Swansong
light from USL - > could be a window from outside the cell or hope
dim around the edges -> defines the space
as walks of the light fades of -> could have died or left the prison
Analyse the Actions for Final Solo within Swansong
smerk to guards
broken wing
ilusion on leg
turn in attitude arms circle around head
reaches in many different directions for example on the floor right arm infront and left to the side thats thrown on the floor
constand turn to USL then walk
extended arabesque to break then turn big jump with left foot flick up arms downward 2nd spiral
pauses to look USL -> steps towards USL -> shows wants a way out
Analyse the Space and Dynamics for Final Solo within Swansong
Space -> large, constant direction to USL - more frequent pathway, high level
Dynamics -> tense, fast, slow @ start, pauses, smooth flowly, heaviler - has control but has less than in the first solo - > lost temper?
Where can Bruces use of Ballet be seen within Swansong
Last Solo -> Grand plie, Ron de jambe, arabesque, attitude, tilts and arabesque to break
Final Solo -> arabesque, attitude - both help to give visual of wings and birds
show the dancers technique and strength as ahrd to obtain throughout the peice. Precurves the artisitic heritage of classical ballet and also is a stylisic featue of Bruce
Where can Bruces use of Graham Technique be seen within Swansong
First Solo -> broken wing on a low level falls on the floor on the back with left leg bent at the knee right leg bent over - repeated over and over
the technique is effortful and helps to show the character of the prisioner being inprissioned
shows his struggle + torture
Where can Bruces use of Tap be seen within Swansong
Question and Answer - at the begining the guards do hard shuffles and stomps + claps to the prsioner
Tea for Two - taps from the prisioner around when on his own.
shows the start in silence and communicates the interigation from the guards as they are doing this directly towards the prisioner. Guards vs. Prisioner. Never tap at the same time. shows the theme of the section Q+A This supports the narrative + audience understood.
Where can Bruces use of Ballroom + Tango be seen within Swansong
Tea for Two - when dancers are in ballroom hold and step turn keeping close together and step inbetween each others legs
use the ballroom + tango style to make fun of the prisioner with anyone which is used for cruel purpose mocking and humilliation.
Name and Date Sergeant Early’s Dream
Christopher Bruce, 1984
How many dancers are there in Sergeant Early’s Dream
9, - 5 women, 4 men
What is the music in Sergeant Early’s Dream
includes British, Irish, American, Folk song, musicians on stage with dancers
What are the themes of Sergeant Early’s Dream
Migration from the old world to the new world
taking threads of their own culture which will develop with their new
Re enacting the life, love and tradagies of the people of the past
What is the structure of Sergeant Early’s Dream
eposodic - 10 sections Universal Themes
