Shadows Flashcards
Name of choreographer
Christopher Bruce
Name of dance company
Phoenix dance theatre
Date of first performance
Premiered 26th November 2014
Dance style
Stemming from his own training, Christopher Bruce’s signature movement style is grounded in modern dance techniques with a combination of classical and contemporary dance language termed- neo classical
Choreographic approach
Didn’t prepare movement before going into the studio but preferred to wait and work with the dancers so he could be influenced by them. The movement must sit well on the dancers.
Choreographic approach- his ideas
Started with the idea of a family unit sitting around the hearth or dinner table and he knew that furniture would become an intrinsic part of the choreography as opposed to a static set.
The anxiety of the music also influenced the movement content. The form of the piece allowed each member of the family to have a voice and to tell their story
What was the stimulus
Avro Part’s Fratres for violin and piano was a starting point, the music evokes Images of European history and over the thousands of years of suffering and human experience.
Bruce translates this vision into exploration of a family dynamic and relationships between each member as they deal with an outside force.
What was his choreographic intention
Bruce’s work is usually politically aware and refers to pas or current political affairs and explore the effect on human life.
Bruce invites the audience into the world of a small family possibly set in Eastern Europe (left up to individual interpretation) coming to terms with deprivation, poverty and the realities of what lies outside their intimate families home.
How does Bruce describe the piece with his intentions
A darker work, with a narrative which also allows the audience to apply their own context to the material danced on stage
How many dancers and what genders
4
2 male
2 female
Duration of dance
12 minutes
Structure
Semi-narrative
Solo, duet, trio and quartet
Describe the aural setting
Accompaniment - Arvo Parts ‘Fratres’ (composed in 1977) the version for violin and piano is prerecorded for use in performance. It uses broken chords, diatonic scales and is in minor key. There is no break in tempo so follows ‘Parts’ signature style of composition.
Movement vocabulary and music are similar in speed and dynamics and often used to introduce each character and their emotional response to their environment.
How would Bruce describe the effect of the minor key
It creates a dark, solemn atmosphere
Describe the costumes
Designed by Christopher Bruce, they are clearly gendered and depicted the ear of 1930s-40s eg- simple shirts, skirts trousers and dresses as well as large overcoats (to big for son and daughter shoes poverty) worn at end of piece as mum puts them on each child as well as them putting on shoes. Colours and muted and worn down symbolising the deprivation and poverty.
No costume changes
Describe the lighting
Designed by John B Read, uses light to create an intimate space showing a ‘room’.
A spotlight/ shaft of light enters stage right at a diagonal to table to reflect the danger- when light shines they are exposed.
Son gets closest to light out of all of them- it shines on his face to show immaturity and courage to protect his family.
What is the performance environment
End stage
Describe the staging/set
Designed by Christopher Bruce.
Using minimal set within a black box (a simple set with bare walls and floor) theatre space. It includes a table, bench and 2 stools (son moves furniture in solo and daughter uses table In hers- territorial) ,a coat stand and suitcases- all worn looking and drab which confirms the notion of hardship within the family.
The space created allowed audience to enter to the heart of the kitchen- where narrative unfolds.
Example of a repeated motifs
Turning heads in unison to look down stage right, when first performed a shadow flashes across the stage, this highlights the fear the family unit feel to the uncertainty of what is outside their home. Repeat again at end and by individuals
Mother tucking her hair behind her ear
Mothers collapse of knees
Daughters straddle on floor
Example of climax
Sons solo shows fast actions, runs with stools and slams on floor down stage right- towards danger, trying to block it out. Music is louder and pitch increases, the dynamics are harsh , strong and aggressive. Use of lighting on face.
Example of motif development
The daughters frantic sideways head gesture is performed whilst side stepping USL to DSR On a diagonal pathway, developed by mother who changes the dynamics to more controlled, lighter and more balletic- mother has control of situation
Example of counterpoint
2 duets at the same time towards end of piece
Examples of repetition
Travelling on diagonal pathway from table to DSR
Turning of head to DSR
Straddle position on floor of daughter highlights her age and vulnerability
Mothers solo repeats motifs of actions of knee wobble/break and popping of knee- showing constant pressure and fear she feels
Ballroom hold of mother n father
Use of DSR In son daughter duet
Travel towards it and pull away from it using diagonal pathways
Example of change of level
Small gesture of mother tucking hair behind ear, performed when mother is in plank position over father (first time motif is seen) then later performed when mother and father are standing upright in a ball room hold, as they face eachother upright she tucks her hair behind her ear again
Example of contrast
The opening of the family slowly controlling a head turn to DSR contrasts big frantic actions of daughters solo, helps highlight panic and fear she is experiencing. - calming role of mother and father in trio after her solo shows contrast
Example of unison and highlight
At no duets performed in unison creates a highlight as it’s the only piece of unison throughout
Example of climax
Sons solo- created through change in music, lighting, use of props and dynamics which are strong and aggressive, also uses clenched fists to show anger and frustration at their situation
