Section 4 - movement examples Flashcards
Isolation
-The female dancer before the line ‘I sit and watch’ enters from SL, barges through while the three other females then form a hug (unbreakable bond circle) and turn their backs and hold each other’s shoulders
-The female is in a shift, rigid pencil-like position (links to child-like behaviour) - the male dancer then picks her up with her hands by her side then flops down on the line ‘smiling faces I can see but not for me’ - imagery - no assistance - stubborn behaviour - not engaging with anybody
-The female outsider crouches down with head and arms towards the ground - sulking position - child-like behaviour
Dance style
-Social dance - the three couples join together in a vertical line down CS, the middle group perform the twist, swirling their heels, the end couple slow dance (embrace, swaying) and the front couple perform the jive and lindy hop
Rejection
-The female outsider runs over to the group of girls who are in the circle formation - one girl sticks her leg out in front and causes the other female (outsider) to contract her stomach, she hinges back and falls to the floor on the line ‘I want to hear the children sing’
-The male outsider goes to the female outsider and picks her up in a forward bend and she stands up with a flat arm and she slaps him and on the slap there is a pause in the music for effect - rejecting his assistance
-Group of male dancers - one of the males go half way up into a cartwheel (teal jacket) and another male pushes him back down and the alpha male offers the hand out towards the male outsider, goes to take it and he snatches it back - rejection - play fighting
Child-like (playground) behaviour
-Group of male dancers - one of the males go half way up into a cartwheel (teal jacket) and another male pushes him back down and the alpha male offers the hand out towards the male outsider, goes to take it and he snatches it back - rejection - play fighting
-The female outsider jumps into a tuck position with her arm around the male outsider’s shoulders then extends, then tucks her lugs then performs a flutter kick - enhances how she can’t reach the ground
Choreographic devices
-The males repeat the lunge section from earlier on in the dance while the other male is completely on his own and there is a change of stage face and place as the group of males moves from SL to further CS than the previous time with the addition of opening out into a chain-like formation and they look at the female outsider and she drops into a salient position
-Highlight - the male goes over to the female and picks her up in a forward bend and she stands up with a flat arm and slaps him - there is a pause in the music on the slap - rejection
-The three females are in a horizontal chain-like position, they look at the female and she drops into the salene sulking crouched position which is repeated from the beginning of the dance
Transition
-The male outsider lifts the female who has her hand up - controlling - (links to personality) outsider into a fireman’s lift over his shoulder as he carries her off SR and she flick her hair off her face and has a smug expression on her face
-The male soloist for paint it black then walks on backwards from SR and the female looks at him
Aural setting (direct correlation)
-The males lunge forward in a reverting canon and they throw their palm up on the exact beat of the music, then the women turn to the floor in front of the males, laying their heads in the male’s hands in a crab position on the three distinct high pitch plucks of the guitar strings - male call - women come running - male chauvinism
-The three female dancers are still in a huddle SL in the middle and the female outsider skips towards them from the DSL corner, as she does so, skips on the beat (1 and ….), they then turn their head sharply to look at her so she turns round and skips back to the beat of the music - direct correlation
-‘I sit and watch as tears go by’ - the female is in a crouched position further USC and the male outsider walks over to her and he picks her up in a forward bend and she stands with a flat arm and slaps him round the face when there is a pause in the music – music visualisation
Space
Levels:
-When the female runs over to the other females in the huddle SL, one female sticks her leg out making contact with the other girl causing her to contract her stomach, hinge back and fall to the floor - shows rejection - not part of the group
-After the lunge section, the female role in front of the males and lay their heads in their hands while in a crab position - men are higher - controlling - had more social freedom in the 1960s
Formation:
-Females in a huddle, holding each other’s shoulders SL - unbreakable bond - guarding their space (use either skipping or kick to floor movement example)
Bruce as a choreographer
-Martha Graham technique - the female outsider runs over to the group of females SL and one of them sticks their leg out and makes contact with the female outsider causing her to contract her stomach, hinge back and fall to the floor
-Eclectic use of dance styles - social dance references - stood in a vertical line down CS, middle are doing the twist (swirling their heels), the end are doing a slow dance (embrace, swaying) and the front couple are doing the jive and lindey hop
-Symbolic repetition of the salene sulking position
-Symbolic repetition - salene position
Structure
-Follows the lyrics
-‘Smiling faces I can see but not for me’ - imagery - the alpha male dancer lifts the female who’s in a stiff, rigid, pencil-like position with her arms by her side, and once she is placed down, she flops over
-‘I sit and watch as tears go by’ - the male outsider goes over to the female outsider and lifts her in a forward bend and she stands up with a flat arm and slaps him - controlling (similar to section 3)
-The female dancer on the line ‘I sit and watch’ enters from SL, barges through while the three other females then form a hug (unbreakable bond circle) and turn their backs and hold each other’s shoulders
Physical setting
-When one of the males, is spotted being intimate with his female partner, he pushes her away and corrects the cuffs of his sleeves which represents adolescent anxiety
-Two males whisper together and the man in the russet jacket walks over and confronts them and one man pulls the other man’s tie - childish/playground behaviour
-Blue wash dim light at the beginning - the isolated male walks in, then another male behind him slaps him on his back and another male lifts him up, back leg in attitude - playfighting and rejection
Character and personality
-Male - caring but is rejected by everyone even the other isolated female
-Female - refuses help from anyone and sulks - resembles a small child
-Everyone else in cliques and groups - playground behaviour
Use of dancers
-Female outsider is the slightest one - use this to create a child-like imagery - The female outsider jumps into a tuck position with her arm around the male outsider’s shoulders then extends, then tucks her lugs then performs a flutter kick - enhances how she can’t reach the ground
-The groups/cliques - The female outsider runs over to the group of girls - one girl sticks her leg out in front and causes the other female (outsider) to contract her stomach, hinge back and fall to the floor on the line ‘I want to hear the children sing’
-The males - childish behaviour - playfighting - one of the males goes half way up into a cartwheel and another male pushes him back down and the alpha male offers a hand to the outsider but snatches it back before he can take it
