Prescribed works - White Rabbit Flashcards
Identify one aspect of the intention from one phrase and discuss how the phrase communicates intention (section A)
Aspect of the intention: to depict the White Rabbit’s frantic preparation for the Knave of Hearts’ trial
Phrase 1: In section A, the White Rabbit starts at the top of the staircase, before hurriedly pacing down the stairs to the centre of the stage in a curved spatial pathway.
This fast-paced travelling communicates his fluster regarding the upcoming trial. Gestural movements are also applied such as him scratching his ear erratically and fubling with his waistcoat. These movements further affirm his angst and stress. The phrase concludes with a moment of stillness, as the alarm is visible in his eyes, to convey that he is distraught and nervous for the trial.
Identify one aspect of the intention from one phrase and discuss how the phrase communicates intention (section B)
Phrase 2: Midway through the solo, the White Rabbit’s movements accelerate as he elevates consistently, executing small bunny hops and a bound jeté. This increase in height metaphorically represents his nerves rising further as the trial looms closer.
The rabbit then turns with a fluent attitude pirouette, in an attempt to calm himself before falling to the ground with a spiral, and then a moment of stillness as he attempts collecting his emotions.
Identify one aspect of the intention from one phrase and discuss how the phrase communicates intention (section c)
Towards the end of section C, the White Rabbit begins at the back of the stage on a medium level and starts by walking forward in a frantic zig-zag pathway, scratching his chin and forehead as he apprehensively sets up the space for the trial.
He then moves in a sideways direction across the stage, creating a small, tight shape as he performs three chaine turns using a fluent flow, elevating his body to a slightly higher level on a releve and moving his arms above his head in a curved shape.
The slightly erratic pathway and animalistic mannerisms displayed by the rabbit at the beginning of the phrase emphasise his timely and frantic behaviour as he darts around the stage with neurotic, time-checking precision.
Describe one influence on the work.
One influence within the White Rabbit solo was ‘A respect for the original tales essential ingredients.’ In the original novel of ‘Alice in Wonderland,’ the rabbit is portrayed as a nervous, apprehensive character.
This impacted the intention of the performance as it gave Wheeldon greater understanding of the White Rabbit’s persona.
Discuss how this influence had an impact on the production aspects (costuming)
The costume design for the White Rabbit, created by Bob Crowley, consisted of a completely white costume which was made to appear quite stiff, much like the apprehensive and nervous personality of the rabbit.
However, the costume contained modern stretch fabric to allow for movement. The lustrous satin fabric on the suit caught the light as the dancer moved, emphasising the jittery, animalistic movements characteristic of the original tale, further preserving the traditional novel.
Discuss how this influence had an impact on the production aspects (music)
Drawing inspiration from the fun and lively novel, composer Joby Talbot created a percussion-drenched score for Alice in Wonderland, adding colour to the overall piece.
The ticking clock and the ‘underlying theme of trying to get somewhere and never quite reaching it’ added an element of suspense and anticipation, transporting the audience into the confused and nonsensical world of the White Rabbit.
Through the tinkling, crystaline instrumental, the music swoops and flutters with the movement of the dancer, allowing the audience to gauge a greater understanding of the White Rabbit’s perplexed emotional state as he darts around the stage with neurotic, time-checking precision.
Influences - movement vocab
George Balanchine - Otherwise known as “The Father of American Ballet,” Balanchine gained a knowledge of music at an early age that significantly exceeded that of his fellow choreographers, providing him with an invaluable aid in translating music into dance.
Balanchine’s style has been described as neoclassic; a more abstract form compared to traditional classical ballet. Being the prevailing style in Russian and European ballet at the time, the stylistic nuances within Balanchine’s movements were often exaggerated, expressive and theatrical.
The impact of classical Ballet is clearly evident in Wheeldon’s work. The long classical leg and arms lines, complex footwork, use of turn out, classical leaps and outward eye/body projection feature throughout this solo.
This is seen particularly in the first section of the dance, as the soloist stands in a turned-out position, before performing a swift chaise to transition into an elongated jump, landing on the floor to perform a controlled rond de jambe to the front. Through this first phrase, the influence of Balanchine’s technique and style continuously lingers throughout Wheeldon’s piece.
