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A - Level Dance > Rooster > Flashcards

Rooster Flashcards

1
Q

Themes of Little Red Rooster

A
  • Male chauvinism
  • Disposable attitudes towards women
  • Narcissistic - the male dancers ( through the grooming gestures )
  • Male dominance - 5: 1 ( more male dancers are present )
  • Aggressive towards the other dancers; competition - who’s the man
  • Link to animal instincts - referencing ruling the roost ( rooster !!! )
  • Sexual tension between male and females
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2
Q

Key Points of LRR

A
  • Establishing male roles as well as the male soloist
  • Sets the tone for the rest of the piece
  • Ratio 5 : 1
  • Animalistic qualities
  • Grooming gestures
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3
Q

Interaction Motif 1 LRR
( wrap motif )

A

Female dancers wraps around the male dancers neck in back attitude before the male dancer drops his head , losing contact between the two spinning her round - before he dusts himself - brushing her off

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4
Q

Interaction Motif 2 LRR (manipulation motif )

A

He’s got hold of her , manipulating her
- Being very physical, more aggressive compared to interaction 1
- Low levels - lower status
- He has hold of her arm throwing her to the floor and kicking her before brushing her off and leaving her stage right showing disposable attitudes
- She continues on as if this is usual

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5
Q

Interaction Motif 3 LRR ( trio )

A
  • Hitch kicks in the air bringing her into a ponche whilst being supported / (manipulated) with a lot of contact work alongside this idea of pushing and pulling.
  • 2 vs 1 - mirroring Paint It Black
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6
Q

Examples of female motifs LRR

A

Falling , hugging, wrapping herself as well as hip circle s

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7
Q

“ hounds begin to howl “
what section ? + motif

A

(LRR) the rooster performs an inverted alternating knee popping movement as the arms alternate ( performed by the main male dancer )

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8
Q

“ dog begins to bark”
what section ? + motif

A

(LRR) the male dancer jump up trying to show both his legs and arms as if he’s initiating the dog as if barking

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9
Q

“ little red roosters on the prowl “
what section ? + motif

A

(LRR) the male dancer brings his arms/ hands up to his face as if he is going to call her before the rooster strutting downstairs. He then does a sharp look upstage left before the female dancer runs on stage.

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10
Q

Themes in LJ

A
  • Polygamy: free love of the - 1960s - passing of the women and constant changing of partners as well as lyrics.
  • Male Chauvinism: grooming gestures , pelvic thrust, lick of the lips - showing dominance over the women.
  • As a whole more sexual gestures
  • Courting / Courtship: meeting and greeting through the use of minuet step
  • Elizabethan era( aristocracy) - social dance , bows, patriarchy ( traditional gender roles - men giving women hand gesture)
  • Double standards
  • Disposable attitudes of women: The main male dancer is constantly moving on and disregarding them once they leave
  • Regality
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11
Q

Lady Jane (1) motif
‘ Your servant am I ‘

A

We see Lady Jane wrapping her arms round her body similar to LRR which can be interpreted as protecting her.

‘ Your servant am I ‘ the male dancer lunges at her , licking his lips as she moves away shuddering ( element of excitement ) - moving away from his advances.

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12
Q

Shiver Motif (LJ1)

A

She slowly sits on his lap and shivers as she moves away rising from a low to high level.

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13
Q

‘ I pledge my troth to Lady Jane ‘ (LJ1)

A

The female dancers snatches her hand away from the male dancer ( further gaining a sense of control over the men)

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14
Q

Lady Anne : Touchy Feeley Motif

A

The male dancer loops her round , placing her on his knee. The caressing of the female dancers thigh , by the male dancer

Intimacy shown through this as well as the assisted jette ( showing the male dancer is in control = power) and touching of the neck

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15
Q

‘ I pledge my troth to Lady Jane ‘ (LJ >LA1)

A

Patronising pat on the hand after she was lifted by the other male dancers almost saying there there - not your time. This happens as the main male dancer walks towards Lady Jane

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16
Q

‘ I shall take my leave ‘
(LJ >LA1)

A

the male dancer goes to run away as Lady Anne pulls him back

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17
Q

Lady Jane Backing Dancers

A

Backing dancers create lines . More specifically, chains and links at the back of the stage in one big line

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18
Q

LJ Slap Motif

A

( The male dancer is distracted by Lady Jane still in this section. Lady Jane is out of line so another male dancers slaps the side of her hip/bottom putting her back in line - again showing a sense of power)

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19
Q

LJ 2 Motif 2 - Intimacy Duet

A

More willing in this interaction with more partner work and contact. A sense of intimacy through assisted jumps and attitudes.
She is then lifted up and moved back as the male dancer gazes at her. Her being lifted and poised could show how she is the object of his desire

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20
Q

Lady Marie

A

She makes the first move - craving attention ( younger )
Tries to entice him with her hips
Continues to pursue him , despite his attempts to create distance as he also turns his back on her , she then taps his shoulder again and they start to D.A.N.C.E
Male is distracted again - always looking at Lady Jane not Marie

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21
Q

LJ Ending Motif

A

Within a circular formation ( see hound dog motif development in LJ / ATGB / PIB )

‘ life is secure with Lady Jane ‘ - he can’t help but explore with other women despite his clear connection with Lady Jane - as he has played the field before +

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22
Q

Relationships and devices used in Lady Jane

A

Mirroring
Lead and Follow
Contact
Complimentary
Partnering

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23
Q

Themes seen in NFA

A

Social Event: links to the 1960s

Young couple, courting rituals ( duet starts with a developed version of the minuet step )

Sense of equality (within relationships + expectations )

Playfulness - contrasts to previous sections
Reflected within the music and style

Underlying narcissism : links to lyrics ‘ I’m going to tell you how it’s gonna be’
The female dancers also belittle him at times

Unphased / ignorance - the interaction as the male dancer is lifted away at the end

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24
Q

‘ I’m going to tell you how it’s going to be’

A

(NFA) initiated by the male dancer as he performs an explosive jete upstage towards the female dancer. He steps towards her as if he is chasing her ( showing he is in control )

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25
‘ Your going to give your love to me’
(NFA)the female dancer circles her hips towards the male dancer ( perhaps as a response ) showing her sense of power within the relationship and a way of tempting and teasing the male dancer and their love
26
‘Love is love and not fade away’
(NFA) a sense of irony as their love does indeed fade away at the end of the dance when the male dancer is lifted and leaves the stage whilst the female dancer remains on stage
27
NFA Opening Transition
- End of Lady Jane there is a formal quality to the formation which frames Lady Jane in the middle. - As the new section starts the male dancers ( beside 1 ) exit stage right with the females ( beside 1 ) leaving stage left. - The two dancers left on stage are left to greet each other allowing a new relationship to be formed
28
NFA Ending Transition
1. The male dancer is dancing in his own world stage right when 4 male dancers enter stage right and lift him up, removing him from the space. - He is unpleased with this interaction 2. The female dancer is left waving slowly before she lowers to the floor stage left 3. She looks towards stage right where she sees a new male dancer before she exits stage left - avoiding another interaction
29
Styles in NFA
Lindy Hop Jive Ballroom Jazz Gestures ( these 3 styles are all linked social dances within the 1960s and the 60s dance style )
30
Jive Motif (NFA)
They spin down towards stage left in the ballroom hold. The male dancer twirls her out as they continue to hold hands - standing side by side. Travelling downstage, performing shuffle kicks and flicks as a duet and solos. This is performed light heartedly as well as bouncy. The close connection between the dancers.
31
Lindy Hop Motif (NFA)
The male dancer bounces off the female dancers hip and falls to thew floor where he kicks his legs numerous times ( as if he is having a tantrum). The female dancer then kicks his bum, pulls him up off the floor and they perform a stepping shuffle wrapped around each other in close proximity. It is playful and flirty.
32
Jazz Motif (NFA)
- We see explosive jumps and leaps performed by both dancers - The male dancer springs up holding onto the lapels of his jackets ( rooster wing motif - DEVELOPED ) jumping for joy, showing excitement, like a spring chicken - Motif is repeated twice in this - this is complemented by the high pitched sound of the harmonica
33
Themes in ATGB
- Adolescent anxieties - stress over different situations as a child - Rejection and isolation - Autobiographical- inspired by Bruce and his experience of youth - Childish behaviours - Bullying ( aggression ) - Identity - outcasts as gender groups well a - Loneliness - Teasing
34
Stylistic features seen in ATGB
- Gestural - squatting , slapping - Child Play - cartwheeling , lifting - Leg gesture - skipping - Grooming gesture (links to previous sections such as LRR) - Sombre feel Hand shaking General contemporary dance Folk dance ( chains , links that shows a sense of community )
35
Use of space in ATGB
Levels ( lone female often on a low level ) She is kicked down , drops into a squat position and drops at the end of the line Pathway Lone female travels from USL —> SL ( spinning ) Formations Lines from female dancers SL Line facing back crossing arms Male dancers are more sporadic and playful with formations Close proxemics - between Lady jane man and Lady Jane slow dancing together
36
Relationships and devices seen in ATGB
Contact Unison Repetition Manipulation of number Partnering
37
(TOM) ENTRANCE: ATGB
male dancer enters from SR, he is then pushed aggressively . He then performs an attitude derriere before being picked up over his shoulder - showing isolation
38
(TOM) HANDSHAKE: ATGB
male dancers ( trio ) are USR, one performs a cartwheel. There is pushing and pulling between them. One reaches his hand out before pulling it away embarrassing the lone dancer.
39
(TOM) MALE BARRICADE: ATGB
Trio of males USR create a barricade on the diagonal to block the lone female out. They move her over their shoulder.
40
(TOF) ENTRANCE: ATGB
Trio of females starts SL before the lion female dancer runs through before isolating herself .
41
(TOF) KICK: ATGB
Trio of females huddle in a circle , the lone female dancer runs towards them before being kicked to the floor on the lyrics ‘ I want to hear the children sing ‘.
42
(TOF) THE CHAIN: ATGB
Trio of Females create shoulder chains , they sharply look and then the lone female drops abruptly
43
(TOF) MUSCLE FEEL: ATGB
Lone male dancer is CS before the trio of females circle him , feel his muscles then he watches as they leave.
44
(LD) SLAP: ATGB
she is dropped over , he picks her up by the skirt . Once she is up , she slaps him before skipping off ( reflex )
45
(LD) TANTRUM: ATGB
Lone male picks up the lone female, She slowly kicks her leg as if she wants to get down
46
(LD) ENDING: ATGB
Lone male picks up Lone female DSC , she is then carried off SR ( the first female to exit / enter stage right showing CHANGE )
47
Themes in PIB ( male )
- Self Loathing - Depression - Spiralling out of control ( male ) - shown through reception and spiralling of pathways as well as structure of the dance,actions and lyrics - Torment/ed
48
Themes in PIB (female trio)
- Female empowerment - Emasculation / emasculating the male - Power shift - females have the power - Manipulation - Teasing
49
PIB link to time period
( relating to the time period of the 60s where women gained more power and there was more of a shift due to a wave of feminism )
50
Male Solo (PIB) - overall qualities
- Has a serpent type quality - all of his movement flowing as if he has sinned - Fluid movements with spiralling pathway - Use of lower levels = lower status = less power overall
51
‘ I look inside myself and see my heart is black ‘
(PIB) the male dancer looks into a ‘ mirror ‘ reflecting on what has come of him. He is DSL, spreads his hands across the floor looking down, He then contracts back - looking away as the female dancers look at him Repetition of the word black
52
‘ No flowers or my love , both never to come back ‘
(PIB) he plies and brings his arm down from fifth creating a flower position. ( foreshadowing flower power in RT )
53
‘ I have to turn my head until my darkness goes ‘
(PIB) he contracts back and looks away ( he is hiding from his struggles )
54
Male Motifs ( unexplained ) PIB
- Reflection Motif - I see a red Motif (1st year ) - Slice motif - he performs (1960s head banging action before curving his arm round before slicing his torso - now inflicting his own pain ( influenced by the female dancers )
55
Female Motifs (trio)
Female give the males the ‘ brush off ‘- previously seen in LRR Females whip the male at the end with their scarves ( aggressively ) - their in control of his bad thoughts and feelings Female movement structured and mechanical - as if they are a well oiled machine Dominated the upstage - higher status and higher level of power Social dancers performed
56
Opening Motif for PIB
Strutting on / dominating and asserting their power over the male dancer from the get go ( entering from SR - marching in unison before performing slow walks downstage towards the male dancer ‘The girls walk by ‘ - the girls walk by 1st year motif - arms round head - thoughts in males head Hip Roll motif- they perform two hip rolls alternating sides before entering a deep plie as the female dancers caress their arms as they move their arm further up ( luring him ) Females create barricade - 2nd contact variation - development from ATGB
57
Ending Transition (PIB)
Females walk off in a linear pathway SR - male dancer crawls on the floor before grooming himself . He goes to walk off SL( feels like less of a man ) before Ruby Tuesday enters scaring him into running off SR.
58
Key Points of PIB
ENTRANCE: The female dancers are now entering SR and exiting SR - showing they have more power and dominance. Taking back their power The male dancer when entering is slow and already seems as if he has been weakened. Change in outfits: No red box pleats ands instead short black mini dresses with red scarfs First section without the male dancer in a blazer - removing a layer of masculinity ( exposes himself ) 3 vs 1 Unison - folk dance - united power ( strength ) Space divided The females follow the male pathway - different movements Detachment in space Females rag doll the male- flipped from LRR Two variations of contact
59
Key Points of RT
- Parallel to previous section - Opposite due to turning point - female solo + male backing dancer - Strong sense of gravity - free spirit nature - 1960s hippie movement - Males create line US - like PIB - females
60
Themes of RT
- Hippie movement - Female empowerment - Self possessed - Reflective of change
61
Style seen in RT
Graham Technique - use of spirals and contractions as well as use of weight and grounded movements Ballet Gestures - flower power
62
Key Gestures in RT
- Wrapping of body - Hands linked behind back - Flower motif - Picking flowers - Cradling - Flipping of hair - Twiddling of hair
63
Opening Motif (RT)
- female walks from USL to DS with arms behind back . She extends her right leg up before bringing it to retire, she curves and repeats this before contracting around her body ( Graham through features ) - The actions are relaxed and suggest that she is graceful , linking her character to the song
64
Interaction Motif (RT) Female vs male
- Female dancer runs US and jumps into the male dancer's arm with her face down . they then rebound her and catch her again - showing trust - She is supported and moved around by different nos of male dancers - suggesting her free spirit as she moves around gracefully
65
Flower motif : RT
female dancer cups her hand together creating a flower on the word change she flips her hand down - reflecting SAID change in the 60s
66
Picking Flowers : RT
female dancers reach upward on demi pointe , mimicking the actions of picking flowers . She follows her hand as she waves it down - ‘ She just cant be chained ‘
67
Travelling Motif RT
‘ she comes and goes ‘ she flips her hair over her face, travels DSR performing balletic gestures and swirling actions . she hops several times before performing a large jete throwing her arms behind her - carefree attitudes
68
Ending Transition
Thrown out of ballroom hold as she turns with her arms up towards SR.She then performs the motif of flower flipping again and contracting her body over She exits SL twiddling her hair crossing pathways with PWF female who looks at her curiously
69
Key Points : PWF
- Same dancers as the soloist from ATGB - seeing them in a different light - Courting references again - Equal in status - similar to NFA - The boa could represent the wealth of the female dancer - relates t lyrics - Boa = powers - Use of props
70
Themes in PWF
- Courting / meeting and greeting - Social status - contrast - Mocking and teasing - male dancers mock her - Cockiness - Flirtatious behaviour - Empowerment - Warning - he's egotistical and warning her - Playfulness - bouncy dynamics - Seduction
71
Styles in PWF
- Court dance - Social dance - Jazz - Gestures
72
‘ well you've got your diamonds and you've got your pretty clothes ‘
(PWF) Male dancer performs strut and grooming gestures as if talking to the female . He also identifies the female as being wealthy with the boa wrapped around her neck.
73
‘ Don't play with me or you'll play with fire ‘
(PWF) muscle man motif
74
‘ play with me ‘
(PWF) female dancer put her foot between his legs
75
PWF: Muscle man motif:
flexing of muscles
76
PWF: Whipping Motif:
Male dancer wraps the boa around the female dancers and pulls her towards him before whipping the boa away from her. Male dancer takes the feather boa and rubs it under his bottom mocking the female dancer as she performs this previously.
77
PWF : LRR
Rooster strut motif
78
Key Female Motifs (PWF)
- Female dancer rubs the boa under her bottom in a deep 2nd plie as if to tease and flirt with the male dancer - Female dancers holds the boa to the side of her and uses it like a matador or cape in a paso doble in attempts of gaining the males attention
79
Relationships and Devices seen in PWF
- Unison - Question and answer - Contact - Motif and development - Repetition
80
Ending Female Motif (PWF)
she makes an elbow gesture towards his finger - could deflate his ego in comparison to him at the beginning of the dance.
81
Interaction (1) - Elvis Knee Knock (PWF)
The female dancer puts her foot between the leg of the male dancer as he does the ‘ elvis knee knock - which appears in other sections ‘ suggesting some sort of playful and flirtatious nature / tendencies
82
Interaction (2) Ballroom (PWF)
Dancers perform waltz steps before they meet together in the centre , turn out and turn back in meeting with their palms touching . They perform kicks in unison before he twists her around.
83
Opening Transition for PWF
female dancer enters from USL and watches Ruby Tuesday - almost looking down at her while the male dancer enters from USR before they meet in the middle
84
Ending Transition for PWF
Female dancer crosses his arms and knocks his finger before exiting SL. Male dancer stays on stage and performs the Rooster strut towards the centre moving into SFTD
85
Key Points for SFTD
10 dancers ( maximum amount of people due to only 10 in company ) Uses movement motifs from previous sections ranging from LRR - PWF Rondo structure - compared to the rest of the piece ( which is episodic ) Main male dancer from LRR( main focus - this could mean that he is now seen as a devil) Rooster struts used - cocky ( links to other entrances that the male have ) The dancers also perform their respective sections - in terms of reprise Male dominate stage - more appear as the piece progresses as well as female
86
Themes in SFTD
- Competition - Male chauvinism - Nostalgia - episodic and rondo with reprise - reflecting back on sections Furthermore - 1960s - Celebration of 1960s as a whole - Rolling stones / pop culture
87
Styles seen in SFTD
Eclectic Jazz Social Ballet Contemporary Folk A reprise of all the styles that appear within the other sections
88
Use of dynamics and space in SFTD
- Use of whole stage - Formations - linear formations , - All levels - Entrances and exits - starts off with the same use of wings such as Male ( SR) / - Female (SL) - Close proximity - Bouncy, fast , light
89
‘ Pleased to meet you ‘
(SFTD) Bow ( meeting gesture)
90
‘ Made damn sure that the pilot washes his hands & sealed his fate ‘
(SFTD) washes their hands by rolling their wrists ( reflect 60s social dances )
91
‘ After all it was you and me ‘
(SFTD) points to the audience
92
‘ allow me to introduce to myself ‘
(SFTD )male rooster at the start which reflects the start of LRR as he is the first dancer which has the focus
93
SFTD Entrance
Entrance: PWF female walks off stage . The male dancer shakes his hand off before rooster strutting towards SL , staying on stage
94
SFTD Exit
Exit - Females go off SL , Male exit SR - the main Rooster Strut from LRR ( cyclical structure)
95
Choreographic Devices in SFTD
Repetition Motif development Unison Canon - minuets which are repeated on both diagonals across the stage. The use of canon could be reflective of this knock on effect that the attitudes once had and how they are now positive. Contact - representing a celebration of change and more equality so when the dancers come in contact it is in more of a playful and fun way.
96
When was Rooster performed by Rambert Dance Company
1994

A - Level Dance (3 decks)

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