Transcript GCSE Performing Arts: Dance - South Dartmoor Community …

GCSE Performing Arts:
Dance
Examination 19th May 2010
Revision Time!
The Written Paper
2 Hours
Section A –
Studio Practice
Section B –
Set Work / Comparisons
Section C –
Essay – Costume
You need to…
Be Organised!
Be Prepared!
Be Willing!
Complete all given tasks and
submit them on the given
deadline!
Section A
STUDIO PRACTICE
Warm Up
Mobilise Joints
Raise CV Level / Heart Rate
Oxygen to Muscles
Improve Elasticity of Muscles
Psychological / Mental Preparation
Prevention of Injury
Warm Up Exercises
1
Shoulder Rotation, Arm Circles
and Spine Rolls
2
Swings / Jumps
3
Stretching – Groin Stretch,
Calf Stretch, Hamstring Stretch
Cool Down
Return CV Level to Normal
Stretch – Squeeze out lactic acid
– Prevent muscle soreness
Psychological wind down
Cool Down Exercises
1
Slow Plies / Slow Walk Around
Space
2
Stretching – Groin Stretch, Calf
Stretch, Hamstring Stretch
3
Relaxation Exercises / Imagery
Diet and Nutrition
Carbohydrate
Protein
Fat
Fibre
Vitamins
Minerals
Water
Pasta, Rice, Potato
Chicken, Eggs
Steak, Oil
Brown Rice, Bran
Fresh Fruit and Veg
Fresh Fruit and Veg
Effects of a Balanced Diet
Energy Equation
Energy In = Energy Out
A dancer will therefore have enough
energy to perform movement. This
will help to improve performance and
prevent injury.
Healthy Lifestyle
Don’t Drink
Don’t Smoke
Don’t take Drugs
Eat a Healthy Balanced Diet
Exercise Regularly
Drink Water to stay hydrated
Sleep to avoid fatigue
Safe Practice
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Correct warm-up / cool-down
Appropriate clothing / footwear / hair
Remove jewellery
No eating / hydrated / know when to
eat
• Listen to and follow instructions /
technical awareness / work within
limitations
• Check the space is safe, clear of
obstructions / correct temperature
Treating Injury
P
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Protection
Rest
Ice
Compression
Elevation
Recuperation
Components of Movement
Actions
Jump (Elevation)
Turn
Gesture
Stillness
Travel
Transfer of Weight
Space
Levels
Direction
Distance
Pathways
Positioning
Planes
Dynamics
Time (Quick / Slow)
Weight (Firm / Fine)
Space ( Direct / Indirect)
Flow (Free / Bound)
Pause, Suspension, Accent
Relationships
Movement – Contrast
- Complementary
Time – Unison / Canon
- + in opposition
Space – Over / Under
- Around / Through
- In front / Behind / Next to
Motif Development
Action
Dynamic
Add Action
Take Action
Repeat Action
Fragmentation (Change
Order)
Retrograde (Reverse Order)
Perform action on other side
Perform action with different
body part
Change dynamic (Opposite)
Add - Pause
- Accent
- Suspension
Vary quality and timing
Motif Development
Space
Change Level
Change Direction / Facing
Change Distance
Change Pathway
Change Positioning /
Group Formation
Relationship
Change Relationships:
- Movement
- Time
- Space
Add Contact / Separate
Dancers
Performance Skills
Technical/Physical
Posture
Alignment
The flow of energy
Co-ordination
Balance
Strength
Flexibility
Control
Mobility
Expressive
Focus
Projection
Sense of Style
Musicality
Communication of
Choreographic
Intention
Facial/Body
Expression
Choreographic Devices
Motif, variation and development
Phrasing
Chance
Addition
Repetition
Visual and rhythmic design
Complementary or contrast
Unison
Canon
Climax
The use of these in relation to the artistic
intention or Dance Idea
Rehearsal Process
• Evaluating throughout process - revising and
refining movement material
• Rehearsal of technical and expressive skills
• Systematic repetition (i.e. form,
refine/evaluate, perform again)
• Mental Rehearsal
• Analysis of strengths and weaknesses, e.g.
through use of video, viewing peers, or tutors
• Presentation to an audience.
All elements of rehearsal process should
provide feedback of some kind in order to
inform the process.
Section B
Bird Song (2004)
+ Comparative
Works
Premiere – Bird Song
• World Premiere (in the round): April 2004
EarthQuake Festival of International Dance
Island Arts Centre, Lisburn, Northern Ireland
• London Premiere (in the round): October 2004
Dance Umbrella
The Linbury Studio Theatre, Royal Opera
House
• London Premiere (proscenium arch): September
2005
Dance Umbrella, Sadler’s Wells Theatre
Key Facts – Bird Song
• Choreographer: Siobhan Davies
• Movement Material: The Company Dancers
• Sound Score and Design: Andy Pink
• Contributing Visual Artist: David Ward
• Production Design: Sam Collins
• Lighting Design: Adrian Plaut
• Costume Design: Genevieve Bennett
Overview – Key Points
Performed ‘in-the-round’. Audience placed around the
performers / No Front – Movement viewed from all angles
Choreographed from centre working out
Part 1 and Part 2 ‘Mirror’ each other
Part 2 Sections are Developments of Part 1 Sections
Movement is a response to music throughout – Music
Visualisation. Starting Point is the Music.
Call of Australian Pied Butcher Bird – Key Stimulus (Bird
Song Central Solo)
16 Sections in total – Each Varied
Structure of Bird Song
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Beginning - Infinite
Monkeys
Four Corners 1
Diagonal
Snake 1
Muybridge 1
Gill Clarke’s Solo 1
Four Musical Lines 1
Improvisation 1
Bird Song - Central Solo
Improvisation 2
Four Musical Lines 2
Gill Clarke’s Solo 2
Muybridge 2
Snake 2
Four Corners 2
Ending - Final Solo
• 16 Sections
• Choreographed from the
centre working outward
• Focus on Four Corners
1&2, Gill Clarke’s solo 1&2
and Snake 1&2 for the
2010 examination
• Second Half Sections
Developments of the First
Half Sections (Reversed
Order)
Bird Song – Key Movement
Features and Examples
Bird Song Central Solo
Solo Dancer
Response to the call of the Australian Pied
Butcher Bird
Twitchy Movements
Gestures Important
Internalised response to sound
Bird Song – Key Movement
Features and Examples
Four Corners 1
Four Corners 2
Three areas used:
Only two areas used:
Snow angels duet
Complementary duet
Grid/crossing quartet
Snow Angels Duet
Complementary Duet
Two white lines intersect to
form a ‘cross’ that
divides the space into 4.
Other dancers travel
through centre on
diagonal performing
material from Infinite
Monkeys
No lighting separating
corners
Bird Song – Key Movement
Features and Examples
Gill Clarke’s Solo 1
Gill Clarke’s Solo 2
Space is flooded with a
luminous blue light. Narrow
bar of paler light moves
slowly down the space.
Starts on low level in the dark
in one corner
Enters walking into the space.
‘Twitches and jiggles of
joints’ – jabbing and jerking
movements. Phrases are
unpredictable and irregular
in length.
Direct response to the music –
Music Visualisation
Accompaniment –
tapping/clapping, irregular
tempo.
Very different to GC Solo 1
Fluid, slow, graceful movement
Arm Gestures and Head
Gestures
Accompaniment – piano &
‘whispering’
Bird Song – Key Movement
Features and Examples
Snake 1
Snake 2
Travelling, Gesturing
Travelling, Gesturing
Powerful, graceful, fluid
Powerful, graceful, fluid
Curved Pathways
Curved Pathways
Canon and Unison / Follow
my leader
Canon and Unison / Follow
my leader
Snake 1 is a single line
2 Lines appear in this
second version –
Choreographically more
interesting
Bird Song – Key Movement
Features and Examples
Four Musical lines 1
Four Musical Lines 2
Each dancer represents a
different line from the
musical accompaniment
Each dancer represents a
different line from the
musical accompaniment
Movement response to the
sound / Music Visualisation
Movement response to the
sound / Music Visualisation
Arm Gestures and simple
pedestrian action content.
Arm Gestures and simple
pedestrian action content.
Different music to Four
Musical Lines 2
Mechanical pulse energises
the travelling(Different
music to Four Musical
Lines1)
Lighting – 2 stages blue with
speckles & clear bright
reflects the dancers’
shadows.
Lighting – plain shadows are
cast
Bird Song – Key Movement
Features and Examples
Improvisation 1 & 2
Both sections are similar although lighting states are
different.
Movement is improvised.
Sound cues inform dancers of a change
Groups of dancers and relationships change
throughout
Dancers’ personal movement content clear.
Bird Song – Key Movement
Features and Examples
Muybridge 1
Lighting – grey with black dots
Stop Motion Photography
Muybridge 2
Lighting – burgundy with
yellow flashes of curved
light.
Key Action – Stillness
Stop Motion Photography
Canon used throughout
Key Action – Stillness
Fluid and flowing performance
Canon used throughout
Travelling around and through
Fluid and flowing performance
More complicated and
Travelling around and through
More complicated and more
graceful than Muybridge 1 –
dancers moving through
each other in pairs
Bird Song – Key Movement
Features and Examples
Ending – Final Solo
Male solo & Male/female duet
Solo is energetic and travels around the space. Duet
much slower
Accompaniment – piano
Lighting – bar of light quickly travels across the
diagonal bringing black out in its wake.
Accompaniment –
Bird Song
Accompaniment starting point for
each section
Movement is a physical response to
the accompaniment – Music
Visualisation
Range of music/natural/found sounds
used and occasionally altered as
part of soundscore for the work
Accompaniment
Aural Setting
Silence
Voice / Spoken Word
Sound (Found and Natural)
Music – Various Styles
Accompaniment Examples
Silence -
Soda Lake – Richard Alston
Voice -
The Fall – Darshan Singh Bhuller
Late Flowering Lust – Matthew
Bourne
Sound (Found and
Natural) -
Music – Various Styles -
Ghost Dances – Christopher Bruce
(Section 1) Dripping-Natural
Cross Channel – Lea Andersdon
Cars, Ferry Fog Horn, Sea / Waves
Ghost Dances – Christopher Bruce
(Folk)
Swansong – Christopher Bruce
(Synthesised)
Accompaniment
DESCRIBE THE ACCOMPANIMENT using these words … tone,
texture, timbre, dynamics, style, structure, orchestration,
rhythm.
CONTRIBUTIONS OF
ACCOMPANIMENT
Complementary
Contrasting
Structure
Dynamics
Mood Atmosphere
Sense of Place
Social
Historical
Geographical
MUSIC / DANCE RELATIONSHIPS
Music Visualisation
Direct Correlation
Mutual Coexistence
Disassociation
Physical Setting –
Bird Song
Theatrical Setting
In-the-round - audience all around the
performance
Entrances and Exits from different parts of
the space
Projection important used throughout. Visual
design supports stimulus for each section
Physical Setting
Set Design
Backdrop
Cyclorama
Sculpture or Installation
Theatrical / Site Specific / Dance for Film
Realistic / Abstract
Physical Setting –
Examples
Backdrop -
Ghost Dances – Christopher Bruce
Still Life at he Penguin Café - Bintley
Sculpture or Installation Soda
Lake – Richard Alston
Theatrical Site Specific Dance for Film -
Nutcracker! – Matthew Bourne
Late Flowering Lust – Bourne
Enter Achilles – Lloyd Newson
Realistic Abstract -
Hobson’s Choice – David Bintley
Wildlife– Richard Alston
Physical Setting
DESCRIBE Physical Setting using these words … colour, material,
texture, shape, size, levels, entrances and exits, decoration,
placement, cost
Contributions of SET DESIGN
Theme of Dance
Atmosphere
Social setting
Geographical Setting
Historical setting
Event
Location
Sense of Time
Sense of Place
Entrances and Exists
Contributions of LIGHTING
Group of Dancers
Emphasise a Moment
Colour
Adds Variety
Climax
Entrances and Exits
Mood and Atmosphere
Structures / Sections
Theme
Costume –
Bird Song
Simple Dancewear
Blues, Greys and Whites
Focus attention on movement
Group Dancers together
No specific gender
Close fitting to show line
Costume
Realistic / Abstract / Characterised
Shape
Colour
Material
Physical Setting–
Examples
Realistic Abstract Characterised –
Hobson’s Choice – David Bintley
Soda Lake – Richard Alston
Swansong – Christopher Bruce
Shape Colour Material -
Ghost Dances – Christopher Bruce
Cross Channel – Lea Anderson
Ghost Dances – Christopher Bruce
Costume
DESCRIBE COSTUME using these words … allowing and restricting
movement, cost, formal, flow, line, size, weight, colour, texture,
decoration
CONTIBUTIONS OF COSTUME
Mood and Atmosphere
Era
Social setting
Historical setting
Sense of Place
Sense of Time
Event
Location
Character/Role
Season
Gender
Groups of Dancers
Status
Theme of Dance
Section C
The Essay!
What you need to know
about…
Physical Setting
Set Design, Lighting &
Props
What you need to know
about…
Key Physical Setting Points
Evaluative Commentary
The Set Work – Bird Song
Additional Works (Answer with 4)
Waterless Method of Swimming Instruction Robert Cohan
Nutcracker! – Matthew Bourne
Swansong – Christopher Bruce
Soda Lake – Richard Alston
Hobson’s Choice – David Bintley
Still Life at the Penguin Café – David Bintley
Essay Structure
Introduction
2 Relevant Set Work Points (2 marks)
Title + Choreographer (1 mark)
2 Relevant Points (2 marks)
1 Evaluative Point (1 mark)
Title + Choreographer (1 mark)
2 Relevant Points (2 marks)
1 Evaluative Point (1 mark)
Title + Choreographer (1 mark)
2 Relevant Points (2 marks)
1 Evaluative Point (1 mark)
Title + Choreographer (1 mark)
2 Relevant Points (2 marks)
1 Evaluative Point (1 mark)
Conclusion
Physical Setting Points
Remember the
Magic List!
Physical Setting Points
Describe Set,
Lighting & Props
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Other Considerations
Colour
• Cost
• Durability
Shape
• Ease of dancing
Size & Location
• Health and Safety
Style - cyc/structure
• Size of Space
Texture
Mood
It’s really important to DESCRIBE the set,
lighting and props
in each example that you discuss
Physical Setting Points –
Magic List
Physical Setting Contributions
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Support the dance style
Provide a context
Provide a sense of reality
Create interest
Can replace dancer - support
Time of day / Season
Establishes mood
Props help identify character
Can provide a climax
Setting the dance in an era
Can provide exits and
entrances
• Geographical location
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Creates social context
Light/set can structure dance
Props can inspire movement
Lighting can highlight
Set creates shape and levels
Add texture
Compliments other components
Can clarify narrative
Can show changes in time
Add to the theme of the dance
Add humour
Add variety through set and
lighting changes
Always Remember to Include Examples
Bird Song
Siobhan Davies
In the round – different perspectives
Variety of exits and entrances
Clear open space
Lighting defines space
Patterns alter the feel of the space
Bird Song
Examples
In the round – different
perspectives
Variety of exits and
entrances
Clear open space
Lighting defines space
Patterns alter the feel of the
space
Hobson’s Choice
David Bintley
Clarifies narrative
Provides a social context
Gives a sense of reality
Establishes time of day
Props influence dance style
Hobson’s Choice
Examples
Clarifies narrative
Provides a social
context
- The set identifies the scenes
within the narrative : shop,
outside church etc.
- The set establishes a middle
class shop in Victorian England
set is detailed, with
Gives a sense of reality - The
staircase, trap door to cellar,
period furniture
Establishes time of day - Lighting establishes night time
with gas lights inside and out
Props influence dance
style
- The clogs within the shop are
used as a prop (manipulated by
the hands) then used within
clog dance
Nutcracker!
Matthew Bourne
Set/lighting helps create contrast
Lighting establishes mood
Set creates varied levels/platforms
The set creates exits and entrances
Nutcracker!
Examples
Set/lighting helps create - The contrast between the dark colours
in set and lighting of the workhouse
contrast
and colour of Sweetieland
- The brightness and soft colours used
create a magical and fun feel to Act 2
Lighting establishes
mood
Set creates varied
levels/platforms
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The wedding cake creates different
levels for the dancers
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Dancers enter through doors in side
flats, upstage window and mouth into
Sweetieland
The set creates exits and
entrances
Still Life at the Penguin Café
David Bintley
Establishes location/environment
Compliments costume
Creates a structure for the dance
Adds a dimension/size
Still Life at the Penguin Café
Examples
Establishes location or
environment
- The ghost figures appear skeletal
and the costumes add an eerie
feel
Compliments costume
- The ghost characters wear skull
masks with matted hair. This
makes them more intimidating,
Creates a structure for the
dance
Adds a dimension/size
- The use of body paint means that
the shape of the body is clear
and the audience can see the full
range of movement and qualities.
- The ghost chcaracters are
important top the theme of the
dance and so its important that
the look intimidating.
Swansong
Christopher Bruce
Defines Space
Provides a sense of place
Adds humour
Adds to theme
Contributes movement material
Swansong
Examples
Defines Space
Provides a sense of place
Add humour
Contributes movement material
- The shaft of light provides a
narrow space in which the
prisoner’s solos are performed
- The stark set of a single chair
hints at isolation and the dark
edges of stage give impression
of confined space
- Use of hats and red nose add
humour to the dance
- The chair as part of the set acts
as key part of the choreography
as do the canes in the cane
dance section
Soda Lake
Richard Alston
Focus on Movement
Set highlights the artistic intention
Sculpture reflects abstract nature of
the choreography
Compliments the Sculpture
Colour and simplicity of set relates
to costume
Soda Lake
Examples
Focus on Movement
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The plain, clear space and white
lighting allows the audience to
focus on the dance
Set highlights the artistic
intention
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The set emphasises Alston’s
artistic intention – relationship to
sculpture
Sculpture reflects abstract
nature of choreography
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Partnership with the abstract set
and dance style
Movement compliments the
Sculpture
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Pole dance, arm gesture under PI,
tracing the shape of the elipse
Colour and simplicity of set
relates to costume
- Black sculpture (set) compliments
the black costume
How does the physical setting
contribute to dance works?
Give examples from four professional dance
works in addition to Bird Song. Name each
work and the choreographer.
(20 marks)
What should be considered
when choosing the
physical setting for dance
works?
Give examples from four professional
dance works in addition to Bird
Song. Name each work and the
choreographer.
(20 marks)