williamedwards.org.uk · Web viewComplex scenery and ambitious set designs can be created using...

GCSE Dance

Dance Appreciation of Professional Works

You will study 6 professional works from the GCSE Dance Anthology:

Dance Work Dance Company ChoreographerArtificial Things Stopgap Dance Company Lucy Bennett

A Linha Curva Rambert Dance Company Itzik Galili

Infra The Royal Ballet Wayne McGregor

Name: ________________________________

Shadows Phoenix Dance Theatre Christopher Bruce

Within Her Eyes James Cousins Company James Cousins

Emancipation of Expressionism

Boy Blue Entertainment Kenrick H2O Sandy

You will be questioned on these works and your own work in a 1 hour 30 minute exam at the end of Year 11. This will be 40% of your Dance GCSE grade. In the exam you will be required to:

Describe, analyse, interpret and evaluate features of dance using appropriate terminology.

Compare and contrast different choreographers, dance works, styles and cultural influences.

Understand the relationship between choreography, performance and production including aural and physical settings, costume and dance for camera.

Understand the physical and aesthetic contexts of dance.

Tips to help you excel in the exam:

Revise Do your homework Use your time wisely Read each question twice and highlight key words in the question. Describing movement in terms of RADS (Relationship, Action, Dynamics, Space)

Lighting

‘Proscenium Arch’ is the most common type of staging in Britain. Large offstage areas allow this type of theatre to have complex sets, large casts and numerous scene changes. The audience sits on one side of the stage as if looking through a window.

‘Traverse’ is the most unusual type of staging. Various scenes can be set up simultaneously to allow movement instantly from one scene to another. The audience can see each other’s reactions as they are sat on opposite sides of the stage.

‘Theatre in the Round’ is commonly used in the cinema and smaller venues. Although it is called ‘in the round’, it is often square shaped. The audience surrounds the stage which is an excellent way to create an intimate atmosphere and to allow interaction.

‘Thrust’ staging is very popular in modern theatres. Complex scenery and ambitious set designs can be created using levels, backcloths or painted flats. The audience is close to the stage sitting on three sides, thus creating an intimate atmosphere.

Artificial Things

WHO, WHAT, WHY, WHEN , WHERE

Your initial thoughts:

Dance style (s) performed?

Words that come to mind watching it?

Theme/ story?

What might the title of the work suggest?

How does the work make you feel during and after you have watched it?

Moments that your remember and why?

Interactions with set?

Interactions with props?

Number of dancers?

Costume (s)

Interview

Interview with ……………………………………….……………………..

Relationship to the work ………………………………………………………………

What was the initial stimulus for this choreography?

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How did you develop your ideas?

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How did you approach making this dance?

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What would you say this dance work is about?

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How did you create and develop your movement material?

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Are there any motifs or movement phrases that are essential to this work?

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What is the structure of this dance and why did you use this structure? …………………………………………………………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………

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Are there any motifs or movement phrases that are essential to this work?

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What is the structure of this dance and why did you use this structure? …………………………………………………………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………

What decisions did you make (and why) about the number and gender or dancers?

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What decisions did you make (and why) about staging?

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What decisions did you make (and why) about lighting?

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What decisions did you make (and why) about costume?

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What decisions did you make (and why) about accompaniment? …………………………………………………………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….

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How did you work with the accompaniment?

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How do you want the audience to feel when watching this dance?

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Are there any particular moments the audience should look out for?

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Work 1 – Artificial Things Fact File, fill in the boxes

Choreographer

Company

Date of first performance

Dance style

Choreographic approach

Stimulus

Choreographic Intention

Dancers

Duration

Structure

Aural Setting

Costume

Lighting

Performance Environment

Staging/Set

On the table below, analyse the action, space, dynamics, relationships (RADS) and choreographic devices used in Artificial Things.

ACTION SPACE

DYNAMICS RELATIONSHIPS

CHOREOGRAPHIC DEVICES

Discuss the use of camera within this piece. Identify what camera angles are used and how these also support the intentions of the choreographer:

Camera Angle Analysis

AURAL SETTING

Music Dance Relationships:

DIRECT CORRELATION – The dancers work closely with the complex rhythms of the music.

MUTUAL COEXISTENCE – The dancers work independently of it and contrast it.

MUSIC VISUALISATION - The music controls the movement, style, mood, rhythm, dynamics and length of the dance.

DISSASSOCIATION - Musical and dance are totally separate, deliberately goes against the dance.

REMEMBER to think about:

o Instrumentso Time signatureo Styleo Volume (crescendo/

diminuendos?)o Speed o Music/dance relationshipso Is there silence?o Can you hear the dancer’s

movements?o Is there voice?

Create a mind map to describe the aural setting/accompaniment. Analyse how the aural setting is used effectively in Artificial Things.

Aural Setting 1

Aural Setting 2

Highlight if the aural setting:

Shows geographical context, historical context, social context, cultural context, is naturalistic, shows time of day, enhances narrative, enhances theme, highlights character, highlights dancers, highlights group(s) of dancers, enhances the structure of the dance, enhances highlight/climax, enhances mood/atmosphere, complements other components, is symbolic, enhances the audible aspects of the dancer, adds humour, links to stimulus/starting point, enhances the action content, has a close relationship with the movement, links to genre, shows age.

COSTUME

LIGHTING17

Using the blank outline below, draw and describe the costume. Analyse how the costume is used effectively in Artificial Things.

o Colouro Shapeo Textureo Style o Size o Material

Costume 1 Costume 2

Highlight if the costume:

Shows historical context, social context, geographical context, supports narrative, supports theme/idea, suggests an era, defines a character, identifies main dancer, identifies groups of dancers, supports mood/atmosphere, sculpts the body, enhances the flow of the action, defines gender, enhances the line of the body, complements other components i.e. aural setting, lighting, staging/set, suggests age of dancer, supports genre, incorporated into the dance action, links to stimulus.

SET/STAGING/PERFOMANCE ENVIRONMENT

Using the images below, label and describe the lighting. Analyse how the lighting is used effectively in Artificial Things.

o Colourso Directiono Shapeo Effect o Naturalo Intensity

Lighting State 1:

Lighting State 2:

Lighting State 3:

Highlight if the lighting:

Shows time of day, season, climate, context, geographical context, historical context, social context, mood/atmosphere, is symbolic, highlights dancer/groups of dancers, accentuates actions/gestures/body parts, aids theme, aids narrative, complements other components, highlights key areas of the performing space, adds humour, adds to dance style/genre, creates a natural environment/naturalistic, highlights non-dancing performer, highlights climax, highlights structure.

Using the images below, label and describe the set, staging and performance space. Analyse how they are used effectively in Artificial Things.

o Typeo Locationo Colourso Shapeo Backdrop/cyclorama o Empty/full

Highlight if the Set/Staging/Performance Environment:

Creates entrance/exits, set incorporated with action, complements other components, creates levels , suggests a context – historical, geographical, social, era, shows mood/atmosphere, bare stage so that the focus is on the action content, divides the stage, is symbolic, enhances structure, helps narrative, theme, set used/incorporated by the dancers, shows climate, creates contrast.

Artificial Things Notes

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Theme/ story?

Number of dancers?

Costume (s) ?

Lighting?

Interview with ………………………..…………………..

Relationship to the work ……………………………..…………….

Could you introduce yourself please?

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What was the initial stimulus for this choreography?

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Can you tell us about how the ideas were developed?

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How did Itzik approach making A Linha Curva?

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How did Itzik create and develop the material for A Linha Curva?

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Are there any particular motifs or phrases that are essential to this work?

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What is the structure of this dance?…………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………….…………………….…………………….…………………….…………………….……………………………………………………….

How would you describe the dance style of this work?

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Can you give an example of Itzik’s individual choreographic style?

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What decisions did Itzik make about the number and gender of the dancers?

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Can you tell us about some of the staging decisions Itzik made about the piece?

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How do you want the audience to feel as they watch this work?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………………………………………………………………………………………………………………………………………….

Are there any particular moments the audience should look for?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….

…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….

Work 2 – A Linha Curva Fact File, fill in the boxes

Choreographer

Company

Dance style

Stimulus

Dancers

Duration

Structure

Aural Setting

Costume

Lighting

Staging/Set

On the table below, analyse the action, space, dynamics, relationships (RADS) and choreographic devices used in A Linha Curva.

ACTION SPACE

CHOREOGRAPHIC DEVICESFor your GCSE unison and canon are classed as choreographic devices. Though they do link with relationships (dancers to dancer

Find moments of unison and canon.

AURAL SETTING

COSTUME 32

Create a mind map to describe the aural setting/accompaniment. Analyse how the aural setting is used effectively in A Linha Curva.

Aural Setting 1

Aural Setting 2

Shows geographical context, historical context, social context, cultural context, is naturalistic, shows time of day, enhances narrative, enhances theme, highlights character/highlights a motif, highlights dancers, highlights group(s) of dancers, enhances the structure of the dance, enhances highlight/climax, enhances mood/atmosphere, complements other components, is symbolic, enhances the audible aspects of the dancer, adds humour, links to stimulus/starting point, enhances the action content, has a close relationship with the movement, links to genre, shows age.

LIGHTING

Using the blank outline below, draw and describe the costume. Analyse how the costume is used effectively in A Linha Curva.

Costume 1 Costume 2

Using the images below, label and describe the lighting. Analyse how the lighting is used effectively in A Linha Curva.

o Colourso Directiono Shapeo Effect o Naturalo Intensity o Shadows

Lighting State 1:

Lighting State 2:

Lighting State 3:

Using the images below, label and describe the set, staging and performance space. Analyse how they are used effectively in A Linha Curva.

A Linha Curva Notes

A Linha Curva notes

...............................................................................................................

..............................................................................................................

Theme/ story?

Number of dancers?

Costume (s) ?

Lighting?

Interview with …………………………………..

Relationship to the work ………………………………….

Q: What was the initial stimulus for the choreography of Infra? ……………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

Q: What resources did you refer to? e.g. books, images, art works etc. ……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

Q: What is Infra about, what is the subject matter? ……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………………….…………………….……………………….…………………….…………………………….…………………………………….…………………….………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………………………………………………………

Q: How did you develop your ideas, and what was your approach to choreographing Infra?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

Q: What decisions did you make about the dancers, how do you select the dancers and what influenced your choices about number and gender of dancers that are in Infra?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………

Q: Are there any key movement phrases that are particularly important to Infra? ……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

Q: What is the structure of Infra, what influenced the way you structured Infra?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

Q: What decisions did you make about the lighting, set and costume design?

……………….…………………….…………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………………………………………………………………...…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………………………………….. ……………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….

…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

Q: How would you describe the style of the work?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……

Q: How did you want the audience to feel when watching Infra?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….

…………………….……………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

Q: Are there any particular moments the audience should look out for?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………………….…………………….…………………….…………………….…………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………….……………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………………………………………………………………………….

Work 3 – Infra Fact File, fill in the boxes

Choreographer

Company

Dance style

Stimulus

Dancers

Duration

Structure

Aural Setting

Costume

Lighting

Staging/Set

On the table below, analyse the action, space, dynamics, relationships (RADS) and choreographic devices used in Infra.

ACTION SPACE

AURAL SETTING

COSTUME 46

Create a mind map to describe the aural setting/accompaniment. Analyse how the aural setting is used effectively in Infra.

Aural Setting 1

Aural Setting 2

Using the blank outline below, draw and describe the costume. Analyse how the costume is used effectively in Infra.

Costume 1 Costume 2

Shows historical context, social context, geographical context, supports narrative, supports theme/idea, suggests an era, defines a character, identifies main dancer, identifies groups of dancers, supports mood/atmosphere, sculpt body, enhances the flow of the action, defines gender, enhances the line of the body, complements other components i.e. aural setting, lighting, staging/set, suggests age of dancer, supports genre, incorporated into the dance action, links to stimulus.

LIGHTING

SET/STAGING/PERFOMANCE ENVIRONMENT48

Using the images below, label and describe the lighting. Analyse how the lighting is used effectively in Infra.

Lighting State 1:

Lighting State 2 (green, orange and blue):

Lighting State 3:

Using the image below, label and describe the set, staging and performance space. Analyse how they are used effectively in Infra.

Infra Notes

...............................................................................................................

Theme/ story?

Number of dancers?

Costume (s)

Interview with ………………………………….. and ………………………………………………….

Relationship to the work …………………………………. and ……………………………………………

What was the initial stimulus for this choreography?……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

So what would you say this dance work is about?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

How would you describe the dance style of this work? ……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

What decisions did you make, and why, about the number and the gender of the dancers?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

What about the staging?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….

…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

How about the lighting?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

How do you want the audience to feel when watching this dance?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………………………………………………………………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………………………………………………………………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………………………………………………………………………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………………………………………………………………………………..

Work 4 – Shadows Fact File, fill in the boxes

Choreographer

Company

Dance style

Stimulus

Dancers

Duration

Structure

Aural Setting

Costume

Lighting

Staging/Set

On the table below, analyse the action, space, dynamics, relationships (RADS) and choreographic devices used in Shadows.

ACTION SPACE

AURAL SETTING

COSTUME 59

DISSASSOCIATION - Musical and dance are totally separate, deliberately goes against the

diminuendos)o Speed o Music/dance relationshipso Is there silence?o Can you hear the dancer’s

Create a mind map to describe the aural setting/accompaniment. Analyse how the aural setting is used effectively in Shadows.

Aural Setting 1

Aural Setting 2

LIGHTING

Using the blank outline below, draw and describe the costume. Analyse how the costume is used effectively in Shadows.

Costume 1 Costume 2

Using the images below, label and describe the lighting. Analyse how the lighting is used effectively in Shadows.

Lighting State 1:

Lighting State 2:

Lighting State 3:

Using the image below, label and describe the set, staging and performance space. Analyse how they are used effectively in Shadows.

Shadows Notes

...............................................................................................................

Theme/ story?

What might the titile of the work suggest?

Number of dancers?

Costume (s)

What was the initial stimulus for the choreography? ……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………….…………………….…………………….…………………….…………………….…………………….…………………….…………….…………………….…………………….…………………….…

What is the dance work about?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………….…………………….…………………….…………………….…………………….…………………

How did you approach making this dance and develop your ideas? ……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………………………………………………………………

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………

Are there any particular motifs or movement phrases that are essential to the work?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

What is the structure of the dance and why did you use it? ……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

How would you describe the style of the work? ……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………

. What decisions did you make about the number and gender of dancers?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

What decisions did you make about setting?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….

…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………

What decisions did you make about lighting?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………

What decisions did you make about costume? ……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

What decisions did you make about accompaniment? ……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

How did you work with the accompaniment?

……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….……………

Are there any particular moments the audience should look out for? ……………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….…………………….………………

Work 5 – Within Her Eyes Fact File, fill in the boxes

Choreographer

Company

Dance style

Stimulus

Dancers

Duration

Structure

Aural Setting

Costume

Lighting

Staging/Set

On the table below, analyse the action, space, dynamics, relationships (RADS) and choreographic devices used in Within Her Eyes.

ACTION SPACE

AURAL SETTING

COSTUME 72

Create a mind map to describe the aural setting/accompaniment. Analyse how the aural setting is used effectively in Within Her Eyes.

Aural Setting 1

Aural Setting 2

Shows geographical context, historical context, social context, cultural context, context, is naturalistic, shows time of day, enhances narrative, enhances theme, highlights character/leit motif, highlights dancers, highlights group(s) of dancers, enhances the structure of the dance, enhances highlight/climax, enhances mood/atmosphere, complements other components, is symbolic, enhances the audible aspects of the dancer, adds humour, links to stimulus/starting point, enhances the action content, has a close relationship with the movement, links to genre, shows age.

LIGHTING

Using the blank outline below, draw and describe the costume. Analyse how the costume is used effectively in Within Her Eyes.

Costume 1 Costume 2

Using the images below, label and describe the lighting. Analyse how the lighting is used effectively in Within Her Eyes.

Lighting State 1:

Lighting State 2:

Lighting State 3:

Using the images below, label and describe the set, staging and performance space. Analyse how they are used effectively in Within Her Eyes.

o Typeo Locationo Colourso Shapeo Backdrop/cyclorama

Within Her Eyes Notes

o Typeo Locationo Colourso Shapeo Backdrop/cyclorama

...............................................................................................................

Theme/ story?

Number of dancers?

Costume (s)

What was the initial stimulus for the choreography?

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What is the work about?

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Describe the different sections of the work

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How is the theme shown through the work?

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What decisions did you make and why about the choice of dancers?

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Describe your choices for the staging

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Describe your choices for the lighting

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How did you decide on the costumes?

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How do you want the audience to feel?

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What particular moments should we look out for in the work?

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Could you give some examples of signature movements in the work?

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Work 6 – Emancipation of Expressionism Fact File, fill in the boxes

Choreographer

Company

Dance style

Stimulus

Dancers

Duration

Structure

Aural Setting

Costume

Lighting

Staging/Set

On the table below, analyse the action, space, dynamics, relationships (RADS) and choreographic devices used in Emancipation of Expressionism.

ACTION SPACE

AURAL SETTING

COSTUME 86

DISSASSOCIATION - Musical and dance are totally separate, deliberately goes against the

Create a mind map to describe the aural setting/accompaniment. Analyse how the aural setting is used effectively in Emancipation of Expressionism.

Aural Setting 1

Aural Setting 2

Shows geographical context, historical context, social context, cultural context, context, is naturalistic, shows time of day, enhances narrative, enhances theme, highlights character/highlights motifs, highlights dancers, highlights group(s) of dancers, enhances the structure of the dance, enhances highlight/climax, enhances mood/atmosphere, complements other components, is symbolic, enhances the audible aspects of the dancer, adds humour, links to stimulus/starting point, enhances the action content, has a close relationship with the movement, links to genre, shows age.

LIGHTING

Using the blank outline below, draw and describe the costume. Analyse how the costume is used effectively in Emancipation of Expressionism.

Costume 1 Costume 2

SET/STAGING/PERFOMANCE ENVIRONMENT88

Using the images below, label and describe the lighting. Analyse how the lighting is used effectively in Emancipation of Expressionism.

Lighting State 1:

Lighting State 2:

Lighting State 3:

Using the image below, label and describe the set, staging and performance space. Analyse how they are used effectively in Emancipation of Expressionism.

Emancipation of Expressionism Notes

...............................................................................................................

Subject specific vocabulary (version 2.0) The following subject specific vocabulary provides definitions of key terms used in our GCSE Dance specification (8236). Students should be familiar with and gain understanding of these terms.

Accessory An additional item of costume, for example gloves.

Actions What a dancer does eg travelling, turning, elevation, gesture, stillness, use of body parts, floor-work and the transference of weight.

Acceleration Speeding up the movement.

Accompaniment The sound that you hear during a dance, for example: percussion.

Accumulation When a dancer performs a series of movements and others join in at different times until all perform in unison.

Air pattern A design that is traced in the air by part of the body.

Alignment Correct placement of body parts in relation to each other.

Appreciation Recognition and understanding of the qualities of dance.

Artistic intention The aim of a dance; what the choreographer aims to communicate.

Artistry Creative skill.

Auditory Relating to sound.

Aural setting An audible accompaniment to the dance such as music, words, song and natural sound (or silence).

Balance A steady or held position achieved by an even distribution of weight.

Binary A composition in two parts or sections.

Canon When the same movements overlap in time.

Choreographic approach The way in which a choreographer makes the dance.

Choreographic devices Methods used to develop and vary material.

Choreographic intention The aim of the dance; what the choreographer aims to communicate.

Choreographic processes Activities involved in creating dance such as improvisation, selection and development.

Choreography The art of creating dance.

Climax The most significant moment of the dance.

Complementary Perform actions or shapes that are similar to but not exactly the same as another dancer’s.

Constituent features Characteristics of choreography such as style, stimulus, subject matter, number/gender of dancers, action content, choreographic principles, form and structure, physical and aural settings.

Contrast Movements or shapes that have nothing in common.

Control The ability to start and stop movement, change direction and hold a shape efficiently.

Coordination The efficient combination of body parts.

Costume Clothing worn by dancers in performance.

Counterpoint When dancers perform different phrases simultaneously.

Critical appreciation Evaluation of dance based upon knowledge and understanding, including original insights.

Dance film

Where dance and film are both integral to a work; this includes documentary, animation, dance for camera and a screen adaption of a stage work.

Dance for camera Where the choreographer collaborates with (or is) the film-maker; where the intention is to produce a dance work in a multi-media form that cannot be achieved in live performance.

Dancewear What the dancer wears for class and rehearsal.

Deceleration Slowing down the movement.

Development The way in which movement material is manipulated.

Direction The facing of a movement.

Dynamics The qualities of movement based upon variations in speed, strength and flow.

Elements of dance Actions, space, dynamics and relationships.

Elevation The action of “going up” without support, such as in a jump.

End-stage A performance space with the audience on one side; also known as “end-on”.

Episodic A choreography with several sections, linked by a theme.

Execution Carrying out actions with the required intention.

Expressive skills Aspects that contribute to performance artistry and that engage the audience, such as focus and musicality.

Extension Lengthening one or more muscles or limbs.

Facial expression Use of the face to show mood, feeling or character.

Features of production Lighting, set, properties, costume and aural setting.

Flexibility The range of movement in the joints (involving muscles, tendons and ligaments).

Focus (use of) Use of the eyes to enhance performance or interpretative qualities.

Form The overall shape and structure of a dance.

Formations Shapes or patterns created in space by dancers.

Fragmentation Use of parts of a phrase or motif.

Highlights

Important moments of a dance.

Ideational Relating to ideas or concepts.

Improvisation Exploration or generation of movements without planning.

In-the-round A performing area with the audience seated on all sides.

Intention Aim or desired outcome.

Interpretation Finding the meaning that is in the movement or finding the movement that is in the idea.

Isolation An independent movement of part of the body.

Kinaesthetic Sensory perception (or awareness) of movement and position.

Levels Distance from the ground: low, medium or high.

Lighting The illumination of the performance area.

Logical sequence The flow of phrases or sections of a dance.

Manipulation of number 96

How the number of dancers in a group is used.

Mental rehearsal Thinking through or visualising the dance.

Mental skills These include commitment, concentration, confidence, movement memory, systematic repetition, mental rehearsal, rehearsal discipline, planning of rehearsal, response to feedback and capacity to improve.

Mobility The range of movement in a joint; the ability to move fluently from action to action.

Motif A movement phrase encapsulating an idea that is repeated and developed throughout the dance.

Motif development Ways in which a movement phrase can be varied.

Movement material The matter of dance: actions, space, dynamics and relationships.

Musicality The ability to make the unique qualities of the accompaniment evident in performance.

Narrative Dance that tells a story.

Pathways Designs traced in space (on the floor or in the air).

Performance The presentation of dance to an audience.

Performance (personal) Acquisition and development of physical and expressive skills.

Performance environments Different settings for dance such as in-the-round, proscenium and site- sensitive.

Phrase A short sequence of linked movements.

Phrasing The way in which the energy is distributed in the execution of a movement phrase.

Physical skills Aspects enabling effective performance such as posture, alignment, balance, coordination, control, flexibility, mobility, strength, stamina, extension and isolation.

Posture The way the body is held.

Professional work Original choreography by an individual or company that is recognised nationally or internationally.

Projection The energy the dancer uses to connect with and draw in the audience.

Prop/property A portable object that is used in a dance, for example a suitcase.

Proscenium

The arch or opening that creates the effect of a picture frame and separates the stage from the auditorium.

Rehearsal discipline Attributes and skills required for refining performance such as commitment, systematic repetition, teamwork, responsibility and effective use of time.

Repetition Performing the same action or phrase again.

Relationships The ways in which dancers interact; the connections between dancers.

Retrograde Reversing a movement phrase.

Rhythmic content Repeated patterns of sound or movement.

Rondo A music or dance form with alternating and repeating sections eg verse and chorus.

Safe execution Carrying out actions safely.

Safe working practice Personal care, respect for others, safe execution and preparation and recovery from dancing.

Sensitivity to other dancers Awareness of and connection to other dancers.

Site sensitive Dances that are designed for (or relate to) non-theatre spaces.

Space The “where” of movement such as levels, directions, pathways, shapes, designs and patterns.

Spatial awareness Consciousness of the surrounding space and its effective use.

Staging/set The presentation of dance in the performing space including set, furniture, props, projection and backdrop.

Stamina Ability to maintain physical and mental energy over periods of time.

Stimulus/stimuli Inspiration for an idea or movement.

Strength Muscular power.

Structure The way in which material is organised to create the whole.

Structuring devices The ways in which a dance is made, built, ordered or organised.

Style Characteristic way of dancing.

Style fusion The combination of features of two or more styles.

Tactile

Relating to the sense of touch.

Technical skills These include accuracy of action, timing, dynamic, rhythmic and spatial content and the reproduction of movement in a stylistically accurate way.

Ternary A composition in three parts.

Timing The use of time or counts when matching movements to sound and/or other dancers.

Transitions Links between dance phrases or sections.

Types (of music) Genres of music including orchestral, electronic, percussion, vocal and found sound.

Unison Two or more dancers performing the same movement at the same time.

Unity A sense of “wholeness” or harmony.

Visual Relating to sight.

COMMAND WORDS

Analyse Separate information into components and identify characteristics (examine in detail in order to explain and interpret).

Comment Present an informed opinion.

Compare Identify similarities and/or differences.

Consider Review and respond to given information.

Define Specify meaning.

Describe Set out characteristics.

Discuss Present key points (detailed writing taking into account different ideas, characteristics and/or features).

Evaluate Judge from available evidence (make an informed judgement on the effectiveness).

ExplainSet out purpose or reasons

GiveProduce and answer from recall

How State in what ways.

Identify Name or otherwise characterise.

Interpret Translate information into recognisable form (demonstrate an understanding of meaning or significance of characters and/or features).

Name Identify correctly.

Outline Set out main characteristics.

State Express in clear terms.

Suggest 103

Present a possible case (present a possible answer).

Tick Put a mark to indicate something is correct.

What Specify something.

Which Specify from a range of possibilities.

Why Give a reason or purpose.

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