Movement examples Flashcards
Nutcracker to show young love
-Clara and the Nutcracker are USL in an attitude position with her arms horizontally out beside her on the Nutcracker’s shoulder, they stare intently into one another’s eyes. She then drops into his arms carefully and he swings her from left to right in a caring way
-The drifting, soft motions and movement of the dance how how its all a dream - floating in the air - in an imaginary world
-The music is very soft and has a slow tempo to enhance the floaty movements
-Lighting = a soft general light cool blue wash wash with a fog to show the ambiguity of a dream
Nutcracker to show Adventure
-The gobstoppers in act 2 add comedic effect for the audience as its quite active and chaotic dancing which enhances the theme of adventure
-They perform a barrel role towards SL then perform a stationary jump with one leg in front of the other in parallel and arms in a running position then run towards Clara
-Sense of fun and joyfulness - music supports this by having an upbeat tempo - music and atmosphere
-Lighting = a bright white general wash
-Skater outfits are fun and relatable for a younger audience
Smaller movement example for Nutcracker
-King Sherbet licks his finger after touching the Nutcracker and grins like he approves of him
-The tasting is a metaphor for judging people too quickly based on appearance
Movement example for Cruel Garden (Opening - Moon’s solo)
-A dark blue wash of light and a follow spot
-Set in Spain
-It starts USC as the moon emerges from behind the bull stand, he slowly lowers himself down (as one of Lorca’s poems is whispered). In the background, he turns clockwise and slowly slides through his toes and creates a crescent arm line. He then roles into a prone position and performs two pencil roles DS. He then crawls outwards on his legs in a straddled position looking out to the audience and places his right knee on the floor and left leg bent. He then performs an arm circle peripherally into a crescent shape. Here Kemp is using his theatrical mime approach and represents Chesworth preferring long, dramatic works. Th aural setting is a continuous ring and the use of string instruments and hushed whispers.
Movement example for Cruel Garden
-There is a spotlight on the matador and blood splattered on the side of the bullring
-During the first bullfight, the poet was dresses in white with a red neck tie and red ties around his knees (a traditional matador costume) to allow characterisation in the bullfighter. He holds a white flag atypical of the red used typically in bullfights to represent violence, whereas the white depicts how Lorca’s topics that were advocated such as homosexuality and oppressed minorities and these were demonised and criticised by the facists as it didn’t align with their views. The bull wears cut out brown tights with the chest exposed depicting the strength of the facist henchmen, seen later in Bruce’s Ghost Dances (1981) - the bull enters USL from the lizard depicting power as he crouches with his right arm verticle to his shoulder and runs. he then throws his arms over his head in a relaxed fifth, palms facing front with his head bent to show a changing eyeline. The bull suspends this depicting his power and perhaps his hierarchy of the Facists. The music intensifies into a dramatic drum roll as the poet walks backwards moving the flag to provoke the bull
Ghost Dances Movement example (Animalistic movements)
-One dancer lying on his back (supine position), his arms and legs waft in the air, flexed feet and articulating his toes while he scratches his back on the floor
-One dancer steps into attitude DSR then bends the supporting leg while rippling the body down then back up bringing the arms in then out - this represents a condor bird which is a South American bird of prey
Ghost Dances (Section 2 civilians movement)
-Dancers move on a diagonal from USR to DSL doing a series of quick runs and fast triplets, arms limply hanging from the sides of the body to show they’re reliving moments of their life
-Ghost dancers lift women civilians on a high note in a hanging position with a green pool of light to show the aggression of the coup and how violent they were
Movement example from Ghost Dances to show symbolic repetition
-Ghost dancers repeat sequence by male civilians while the lighting is a bright white in a general wash. They hop onto one foot while the arms outstretched in parallel in front of them, they bend their supporting leg SL tilt and triplet in a circle - shows how they show little remorse and how they have taken over the civilians in such a violent and brutal way
Movement from Ghost Dances to show unison
-All in a horizontal line (ghost dancers) and lower on the knees in a parallel position facing stage right, they then pivot towards the stage left of the stage and walk towards in a kneeling position (lunging), then in accumulative canon, they role towards SR, and perform an arabesque. The arms are interlinked together, they then perform three steps in unison flexing the foot and stare SR and then perform another arabesque with a flexed foot - shows they are a hunting pack waiting for the Chilean civilians
Movement example from Pierrot Lunaire (Interactive use of set design)
-Pierrot lies in a prone position with his legs hooked onto the bars at the top section of the tower with a spotlight on the tower in a bright white wash. He leans forward through the bars swinging himself in a crescent shape position. This is a symbolic statement of the moon. He then leans on the bar reaching his head back looking at the sky and he then swings his legs round placing one through the bar and opens his arms in a peripheral position. He then drops down to the next level and performs a forward roll over the bar landing on his knees where he enters darkness.
Pierrot Lunaire Movement example (first section off tower)
-He is on his knees facing the audience and reaches up to the sky and falls back down. He then glides into a left leg jazz split, then spins back around onto his knees facing the audience and repeats the same on his right leg. He lifts up onto his leg with arms in fourth position and then stiffly places his right leg down and continuously lifts his legs towards SR in a sporadic way like he’s never walked before and he does this on the high pitched discordant notes. The lighting is a white genreal wash.
Pierrot Lunaire opening moments movement example
In the opening moments Pierrot, danced by Christopher Bruce, is stood at the top of the three-story scaffold tower CS. He hooks his arms backwards over the top of the rail and lifts both legs into an attitude deriere creating a crescent shape with the body. He stares upwards into space wide-eyed, instantly recognisable as the clown obsessed with the moon. The scaffolding is lit by a spotlight and the rest of the stage is in complete darkness and the light shines onto the male dancers face as he looks up.
Movement example for ‘Nutcracker!’ to show dream
-The setting is set on ice with a group of ice skaters dresses in all white winter clothing and the lighting is a bright white general wash. The backdrop is blue sky and clouds to enhance the dream.
-A movement example is when the female dancers sache into an attitude with hands fixed and arms extended out beside them elongated along the body. The foot is flexed and the dancers head is towards the audience. The male dancers hop across stage in front of the female dancers lifting their legs up swinging their arms as the female dancers rotate in a clockwise position.
Movement example for Romeo and Juliet to show set design
The dancers perform a forward roll from either side of the stage. The nurse places a hand on their back and a hand on their forehead to check for any illnesses and leans them back. They then stubbornly walk over to CS and grab a slip of paper to confirm they have taken their medicine and walk round the back of the stage, up the stairs and back down in a peripheral pattern - all of this is performed in canon.
Movement example for Ricercare
-The dancers lie inside the dish, hanging supine from the tops symmetrically with their knees bent to the front. The female arcs the knees over to end US, the man copies. They then extend out straight to create a V shape. This shows Tetley’s starting points where he asks Arutunian for a structure where two people can be suspended together but lie apart. The copying and mirroring exploring the idea of searching for truth in their relationship
