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Anthology Works Flashcards

(47 cards)

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1
Q

Who is the Choreographer of A Linha Curva

A

Itzik Galili

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2
Q

As Part of which Company is A Linha Curva and Itzik Galili

A

Rambert

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3
Q

When was the first performance of A Linha Curva

A

12 May 2009

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4
Q

What is the Dance style of A Linha Curva

A

Rhythmic pulses blends Samba, capoeira and contemporary

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5
Q

Choreographic approach of A Linha Curva

A

Dancers worked closely with Itzik Galili to create improvisation solos as motives which were then shared with all of the dancers as ensemble pieces. These motives were named after the dancers

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6
Q

What do the Motives in A Linha Curva show

A

The personality of the dancer who created them
Shows having fun

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7
Q

Stimulus of A Linha Curva

A

Brazilian Culture and a celebration of the Brazilian way of life and the ability to live in the moment

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8
Q

Choreographic Intention of A Linha Curva

A

To have fun
Vibrant Brazilian style movement in regimental straight lines to suggest the samba parade.
Narrative sections to show how men communicate with women

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9
Q

Number of Dancers in A Linha Curva

A

28 dancers
15 Male
13 Female

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10
Q

Duration of A Linha Curva

A

23 Minutes

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11
Q

Structure of A Linha Curva

A

Big ensemble sections
Interspersed with narrative sections
Repeated Phrases but in different formationsA

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12
Q

Aural Setting of A Linha Curva

A

Band Percossa - Percussion group from Holland
Includes vocal sounds (dancers)
Music is played live
Influenced by samba music

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13
Q

Costume of A LInha Curva

A

Black Vests & different coloured wet look lycra shorts
Carnival inspired colours to enhance impact of lighting
Feeling of equality in ensemble sections as all wear the same
Metallic disks at collar at the beginning

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14
Q

Lighting of A Linha Curva

A

Timed and Coloured lighting squares creates a Chequer-board effect
Defines lines and spacing
Dictates speed of dance

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15
Q

Preformance environment of A Linha Curva

A

End stage

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16
Q

Staging/Set of A Linha Curva

A

Raised platform at the back for the live band
Skateboards to propel dancers across the stage

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17
Q

Who is the Choreographer of Artificial Things

A

Lucy Bennet

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18
Q

What Company is Artificial Things Part of

A

Stopgap Dance Company

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19
Q

What is special about the Dance Company of Artificial Things (Stopgap)

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A

Employs Non-disabled and disabled dancer

20
Q

Date of First Performance of Artificial Things

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A

5 February 2014

21
Q

Dance Style of Artificial Things

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A

Inclusive Contemporary Dance

22
Q

Choreographic Approach of Artificial Things

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A

Collaborative approach
Tasks to initiate movement
Much was started by Laura in the Wheelchair and translated onto those who stood

23
Q

Stimulus of Artificial Things

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A

A painting by Goran Djurovic showing a snow covered landscape with and isolated figure on a collapsed wheelchair. The figure is being observed through a snow globe.
The personal experiences of the dancers as inspiration

24
Q

Choreographic Intention of Artificial Things

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A

The characters are coming to terms with life’s limitations.
That we are subject to the gaze of ‘the other’.
Within the scene the dancers find a resolution by coming together

25
Number of Dancers in Artificial Things
4 2 Male 2 Female
26
Duration of Artificial Things
20 minutes
27
Structure of Artificial Things
3 Scenes - we only focus on the 3rd 2 duets and then unites improvising through touch and Lead/follow Harmony by dancing with Laura's wheelchair End there is a lonely solo Ends in stillness to show the scene coming to an end
28
Aural Setting of Artificial Things
Andy Higgs Futuristic Atmosphere Piano - cold & ambient sound Paper snow / Distant rumble / Wind / Footsteps Song from the end is sometimes entered every so often
29
Costume of Artificial Things
Anna Jones Wash of Blue and green Merges with the background Paint 'running down' - reference to being stuck in the Painting of Djurovic Previous garments are removed to show the passage of time
30
Lighting of Artificial Things
Chahine Yavrovan Focuses on one ore two spots Opens out in the middle Blue wash
31
Performance Environment of Artificial Things
Proscenium Arch
32
Staging/set of Artificial Things
Anna Jones Influenced by 'Unknown Secrets' painting collection of Djurovic Heavy Backdrop looks like a canvas Calm visuals Paper snow is scattered on the ground Vitrine / 2 Stools / headless mannequin Seems like audience is looking into a Snow Globe
33
Choreographer of Shadows
Christopher Bruce
34
Company of Shadows
Phoenix Dance Theatre
35
Date of First performance of Shadows
26 November 2024
36
Dance Style of Shadows
Modern Dance Techniques with a combination of classical and contemporary - 'neo-classical'
37
Choreographic Approach of Shadows
Works with Dancers to be influenced by them. Started by the idea of a family unit. The 'anxiety of the music' greatly influenced the movement. The form of the piece allows each family member to to tell their story.
38
Stimulus of Shadows
Arvo Part’s Fratres The music “evokes images of a European history and tradition steeped in over a thousand years of suffering and human experience.” Bruce shows this by exploring the family dynamic as they deal with and outside unseen force
39
Choreographic intention in Shadows
It is a ‘politically aware’ piece as it looks at past/present problems and the effect on human life. It is left up to personal interpretation when/where the piece is set - the audience can apply their own context to “a darker work, with a sort-of narrative”
40
Dancers in Shadows
4 2 Male 2 Female
41
Duration of Shadows
12 Minutes
42
Structure of Shadows
Semi-narrative. Solo, duet, trio, quartet
43
Aural Setting of Shadows
Arvo Part’s Fratres (1977) The music has no break in tempo Broken chords and diatonic scales Minor key - dark/solemn atmosphere Correlation between music and the movement
44
Costume of Shadows
Clearly Gendered Depicting the 1930's-1940's Colours are muted and worn down - deprivation/poverty Clothing is oversized to show the family is living in deprivation
45
Lighting in Shadows
John B Read created an intimate space depicting ‘a room’ A Shadow passes over the side to suggest a dark figure as the forces scaring them.
46
Performance Environment in Shadows
End Stage
47
Staging/Set in Shadows
Black-box (bare walls/floor) theatre space A table, a bench, two stools, a coat stand and suitcases

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