Section 2 - movement examples Flashcards
Choreographic devices
-repetition - the protagonist male does an elaborate bow and bends the supporting leg while lowering the centre of gravity and the other foot is on demi point out to second and the gesture arm twists at the wrist presenting a ‘respectful’ character, Lady Jane steps out towards him in a salene position, one arms crossed on hip and the other crossed on the shoulder (diagonal line across her body) - demure and represents a lady of higher status - these movements are both repeated throuhout especially in the ending position
-fragmentation - the man in the teal jacket and red shirt joined by other men approaches Lady Jane and lifts her on her side while maintaining the arm position (arms in a diagnonal arm line, one placed on hip, the other under the chin with a pointed finger) and her hand is placed underneath her chin and you can see the red inserts of the skirt - Lady Jane is considering her options showing potential affection towards him
-highlight - the female is in a pair with another male, she is facing US while he is facing DS, and she looks towards the alpha male, then he slaps her hip back in to place - discarded - highlights un loyal relationships
Christopher Bruce as a choreographer??
-near the end of section 2, the whole ensemble join together USC, while the females are facing in towards the circle, the males are facing outwards and the hands are joined at the palm - evidence of courtly dance from baroque era - eclectic use of movement vocabulary
-use of a balletic influence (either Gore or Rambert) - Lady Anne walks towards the protagonist male of the section and performs an attitude arabesque behind him and hits him on the back - battle of the sexes - she’s proving herself to stick by codified rules - maintaining her poise and elegance
-Use of pedestrian movement (adds to the eclectic blend of movement vocabulary) - as the protagonist male of the section spins Lady Anne by her wrist, he releases her to the other males and the protagonist male adjusts his cuffs and tie - represents adolescent anxiety
Transition
-Lady Jane is in the middle in a salene position facing DS and the other females are around her flopped over, 5 males are around the outside and repeat the embellished bow, one leg bent, the other on demi point looking towards DS, Lady Jane moves her arms into an extended V through an upward curve
-This is on the line emphasis of ‘Lady Jane’
-Lighting fades
-Into the next section (lighting comes back on) , Lady jane does one strong clap followed by two short claps , then everyone does fast claps to the rhythm of the music while walking off stage while one female and one male join CS
-This shows how Lady Jane hasn’t succumbed to male charm and how she has maintained her poise and elegance throughout
Themes
-The protagonist male kneels behind Lady Jane on one knee and hand on his hip and pelvis thrust forward and drags himself forward on his knee and licks his lips in a sinister way while his eyes are on her the whole time, she goes to sit on his knee, stands up shudders then sits back down on his knee - this is on the line ‘Your Servant am I’ - objectification
-Male chauvinism - Lady Jane is in a partner, she is facing US and he is facing DS, with her hip out and the alpha male slaps it back in place - males supporting one another - a pack
-Female empowerment - Lady Jane is CS in salene position facing DS and the other females around her are flopped over, the 5 male dancers are around the outside, weight on bent supporting leg and the other leg is on demi pointe and they do the embellished bow towards Lady Jane and their heads are turned towards DS looking at the audience, Lady Jane lifts her arms through an upward curve into an extended V - hasn’t succumbed to male charm - she has maintained her poise and elegance throughout
Use of dancers
-Ensemble - baroque influence movements - The females are facing DS and have a hand on the males right shoulder and the male is facing US (more ‘relevant’) and places his hand on the opposite hip of the female, they step and change from the ball of the foot from one foot to the other (step and change, change repeat) and do this as they go into a line US - very simplistic - highlighting courtship
-Baroque influence??
-Rhythm goes with music - use of harpsichord instruments
-Female protagonist of the section - Lady Jane, tall and athletic build - upholds her elegance and poise throughout - harmonious relationship with - he is untrustworthy - on the line ‘my sweet Lady Jane’ - they do a balance step towards one another and join their hands lifting them above their heads and they rock in towards each other then rock out - use of balletic technique makes it more graceful
-Duet between Lady Anne and male - more forceful relationship - symmetry - place foot down into fifth and does a par de sha, then they come in towards one another sweeping their arms above their heads, he then turns Lady Anne round by the wrist - manipulative - different to how he treated Lady Jane
-Mention Sweet Marie (use movement example from structure)
Use of aural setting
-Follows the lyrics - the male protagonist of the section does a small side lunge position and puts his hand on his heart on the line ‘for promised I am’ - pledging his troth to Lady Jane - trying to be sincere
-‘Your servant am I’ - the male kneels down behind Lady Jane on one knee with his hand on his hip and his pelvis thrust forward and licks his lips in a sinister way while his eyes are on her the whole time - male chauvinism - creepy
-‘my sweet Lady Jane’ - the male does an elaborate bow and bends the supporting leg lowering the centre of gravity, the other foot is on demi pointe out to second and he gestures the arm twisting the wrist, the female steps into a salene position one arm crossed over the other in a diagonal arm line on her shoulder - demure position - a lady of higher status
Use of space
-4 couples form a horseshoe shape round the edge of the stage ?? on the line ‘ My dear Lady Anne, I’ve done what I can’ - they stand, with the female facing US and the male facing DS, males hand is on females hip, females hand on males shoulder
-the whole ensemble join together in a circle USC, the males are facing out the circle and the females are facing in the circle and the hands are joined at the palm - shows the courtly dancing (THEME) and they repeat the flicking gesture of the leg which is lifted up with an inverted knee and they rotate the leg outwards joining into fifth
-Lady Jane is in the middle in a salene position facing DS and the other females are around her flopped over, 5 males are around the outside and repeat the embellished bow, one leg bent, the other on demi point looking towards DS, she brings her arms into an extended v through an upward curve
-This is on the line emphasis of ‘Lady Jane’
Structure
ternary - the three females
-Lady jane - ‘my sweet Lady Jane’ - the male does an elaborate bow and bends the supporting leg lowering the centre of gravity, the other foot is on demi pointe out to second and he gestures the arm twisting the wrist, the female steps into a salene position one arm crossed over the other in a diagonal arm line on her shoulder - demure position - a lady of higher status
-Lady Anne - ‘My dear Lady Anne’ - Lady Anne comes forward and assumes a plie in second, she lies down, hinged from the knees in a flat position across his legs, he takes his hand and runs it down her body and her leg, he circles her out of the position and she almost slips out of his arms that are in a circular position and falls and rocks back onto her back with her legs in the air - sinister movement - ulterior motifs - discards women
-Sweet Marie - ‘My Sweet Marie, I wait on my knee’ - she enters from SR to DS and circles her shoulders back one at a time doing ron de jamb aterres circling the leg back on the floor sweeping it round into a kneel, then a role as he gets up on his knee - lust
Role and personality
-male is sinister and seductive and shows how some males in the 1960s were not faithful or loyal in relationships and treated women as objects
-the three females - LJ is poised and elegant and does not succumb to the male charm, LA also a lady of high social status, but seems more desperate, sweet marie is lust and tries to charm the male, tough he mainly wants LJ
Physical setting
-Man in teal jacket and red shirt joined by other man approaches Lady Jane and lifts her on her side while maintaining her position (using a fragmented form of the diagonal arm line she used earlier) - shows the red inserts of the skirt and her hand is placed underneath her chin - this shows potential affection towards the male protagonist of the section
-The ensemble perform a step change step change sequence before going over to take Lady Anne which leaves the females left in the dark at the back of the stage as the main pool of light is DS - makes the female dancers anonymous - discarding females
-When the male dancer turns the female round with her (LA) with her arm above her head into the male group and he adjusts the cuffs of his sleeves and corrects his tie - preening gestures - disregards the female - enjoying the freedom of the 60s - adolescent anxiety
