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1

CULTURAL INFLUENCE EI - SAMPLE ONE

INFLUENCE: ek's previous choreographic work
modernising traditional ballets and highlighting the psychological factors and emotions of characters. Previous work includes: Romeo and Juliet and Giselle at Culberg Ballet
HOW: his career and projects as he worked and choreographed with the Culberg Ballet from 1984-1993
IMPACT:study of human relationships and how they develop as a result of passion reflected in the woman's character as she is abandoned and follows her journey of self identity

2

CULTURAL INFLUENCE EI - SAMPLE TWO

INFLUENCE: PHSYCHOLOGY
scientific study of the human mind and behaviour. Ek was particularly interested in psyche which was the study of the human soul, mind and spirit. Sigmund Freud impacted on ek as his theory of psychoanalysis focuses on the study of human relationships and mental processes.
HOW:personal interest and trademark throughout his work
IMPACT: portrayal of the male character evolving and becoming stronger opposed to the female who became weak and without identity

3

CULTURAL INFLUENCE FORM - SAMPLE ONE

INFLUENCE: psychology
scientific study of the human mind and behaviour. Ek was particularly interested in psyche which was the study of the human soul, mind and spirit. Sigmund Freud impacted on ek as his theory of psychoanalysis focuses on the study of human relationships and mental processes.
HOW: :personal interest and trademark throughout his work
IMPACT:The impact of psychology was portrayed in Smoke’s form with the representation of the woman’s diminishing mindset which conveys the free form structure. Through using this structure Ek was able to portray the intricate workings of the mind and how it can not be confined by a structured and logical narrative form.

4

CULTURAL INFLUENCE FORM - SAMPLE TWO

INFLUENCE: POST MODERNISM
was a movement within the 20th century which heavily influenced art. The main focus of the movement was the ideology that nothing had inherent meaning, and was instead expressed through a series of sign
HOW: when he was choreographing was within the peak of the art movement, allowing Ek to draw inspiration from the art movement which influenced creators, including dance
IMPACT: due to the free form, with no meaning therefore relating directly to the ideology of the movement. While it is the sequence of movements which generally create context and meaning, throughout Smoke post modernism has allowed a free form to create unity throughout Smoke.

5

CULTURAL INFLUENCE PA - SAMPLE ONE

INFLUENCE: filmic format
specifically created in order to be filmed and developed into a short film, rather than to be performed on a stage in front of an audience. Mats Ek was exposed to the creation of this film,as requested by main dancer Sylvie Guile
HOW: his relationship with dancer sylvie and her request for it to be filmed when it was then turned into a stage production known as a solo for two
IMPACT: reversible costume change that was digitally controlled as was otherwise impossible if on stage

6

CULTURAL INFLUENCES MV - SAMPLE ONE

INFLUENCE: Donna Feuer
american dancer and choreographer who was a pioneer of modern dance, influenced by german expressionism joined the martha graham company after training at the dullard school known for highly theatrical portrayal of human personality
HOW: due to her highly known status as a pioneer of modern dance, experimenting and manipulating movement
IMPACT: main dancer portraying her emotions as she uses her hands to pul down on her cheeks to depict exhaustion and lack of independence

7

CULTURAL INFLUENCE MV - SAMPLE TWO

INFLUENCE: ex's previous ballet training
grew up with ballet as his mother birgit culberg was the founder of the culberg ballet. After dancing with the corps de ballet he co directed the company in 1978 and became sole director in 1985.
HOW: his life through his exposure to art form by his mother and training at the school
IMPACT: manipulation of standard ballet movements e.g. high leg extension. performing side develope to display basis of eks training

8

BODY ACTIONS - SAMPLE ONE - GESTURE

GESTURE
MV: side splits - facing downstage right hand corner
while in splits performs hand shaking gesture as she demonstrates vibratory while rotating hands erratically from the wrist
EI: to convey the character's desperation of help + communication from the outside world which is restricted by her 'other' like form of behaviour. Caused by the loss and despair due the the abandonment of her male counter part

9

BODY ACTIONS - SAMPLE TWO - LOCOMOTION

LOCOMOTION
MV: stilted walk downstage rocking side to side/waddling
EI: to portray masculine behaviour as she attempts to define her self by the masculinity of her male counter part attempting to be somebody she isn't. Expresses confusion as she portrays both female and male behaviours as she unsatisfied by the absence of a relationship

10

BODY ACTIONS - SAMPLE THREE - ELEVATION

ELEVATION
MV: forwards jete with, right arm extended vertically from shoulder and left arm horizontal
EI: contrasting use of fluid and clear movement which is automatically refuted as she attempts to consume a piece of paper displaying how she truly can not define her own identity

11

BODY ACTIONS - SAMPLE FOUR - FALLING

FALLING
MV: two steps towards the back of the stage to perform a tripping movement as she fails to gain control from her core, throws arms freely into the air to regain balance
EI: to convey the breaking of the 'fourth' wall between character and audience to portray the fracture within an ideal/perfect life. Displays her grief and loss, displaying that can happen to anyone and not just a character.

12

BODY ACTIONS - SAMPLE FIVE - TURNING

TURNING
MV: commando roll downstage before sitting up in side splits
EI: erratic behaviour to convey her loss of control and self identity, looking for fulfilment in herself as she completes the survival tactic/ commando mode as she looses all hope in finding her identity naturally

13

BODY ACTIONS - SAMPLE SIX - STILLNESS

STILLNESS
MV: left leg developed onto wall, leans away from leg as she covers both eyes with her hands
EI: stillness is rarely seen throughout smoke but was used to convey the characters dependance which she needs to survive due to her declining mental state. Stillness has been used to convey the dancers momentary consideration of herself before and whether she needs a seperate person to fulfil her needs as an individual

14

PHYSICAL SKILLS - SAMPLE ONE - BALANCE

BALANCE
MV: attitude turn as the dancer pose's onto left leg to arch lower back and create an attitude position with the right leg. The dancer extends both arms backwards beyond the line of her shoulder. completes 1.5 turns
EI: conveys the momentary feeling of being internally stabilised and content within her identity a she suspends the position on one leg
SD: requires core strength of the abdominals.
INJRUY: falling out of turn and injury joint eg. ankle.
EXERCISES: core in abdominals which can be achieved by completing: sit ups, planks

15

PHYSICAL SKILLS - SAMPLE TWO - FLEXIBILITY

FLEXIBILITY
MV: dancer sits in middle splits, displaying open position while erratically shaking hands above her head around in a circle.
EI: portrays her desire for communication from the outside world screaming for help as she sits in the open position
SD: adequate hip rotation must be obtained. in order to maximise the position.
INJURY: Places danger on the hip joints. To avoid injury
WARM UP: essential to reach the full potential of the dancers rotation . Dancer already obtains 180 degree rotation but can warm up by leg swings and clams

16

PHYSICAL SKILLS - SAMPLE THREE - FLEXIBILITY

FLEXIBILITY
MV: the dance steps back onto left leg before developing right leg into the air while relaxing upper body with a high release of the neck and both arms naturally by the dancers side.
EI: unpredictable moment when the dance decides to be a pure version of herself shown by the fluidness of the movement w/o any disbelief within herself.
SD: to ensure all muscles are fully capable to perform develope. flexibility must demonstrate flexibility in the hamstrings.
INJURY:To prevent tears to hamstrings the dancer can perform
EXERCISES: exercises such as: reaching forwards to reach for feet and leg swings.

17

PHYSICAL SKILLS - SAMPLE FOUR - TRANSFERENCE OF WEIGHT

TRANSFERENCE OF WEIGHT
MV: hand on ground, balancing on left leg with right leg extended transference as right leg retracts back in to balance and then extend the left leg
EI: expresses uncertainty as the dancer repeats the movement transferring from either side. Her doubt in identity is portrayed as she transfers from either side
SD: core stability required to transfer from either side while simultaneously extending the alternating leg horizontally
injury: falling backwards and injuring sacrum
exercises: sit ups, crunches, planks

18

PHYSICAL SKILLS - SAMPLE FIVE - TRANSFERENCE OF WEIGHT

TRANSFERENCE OF WEIGHT
MV: waddle movement downstage rocking from either side of her body
EI: displays confusion within her own identity as she rocks from either side trying to define herself. Also depicts 'other' as she displays un human like behaviour
SD: equal distribution of weight when transferring from either foot
INJURY: collapsing over knee
EXERCISES: correct weight distribution over knees and feet when performing movement to maintain control

19

PHYSICAL SKILLS - SAMPLE SIX - STRENGTH STAMINA

STRENGTH/STAMINA
MV: forwards jete , right arm vertical and left arm horizontal
EI: growing independence throughout the dance conveying growth as an individual and exploration of her own world
SD: strength in quadriceps and flexibility in hamstrings
INJURY: falling and injuring joint e.g.: ankle
EXCERCISES: improve strength of quadriceps through squats, wall sits and lunges

20

CHOREOGRAPHIC DEVICES - SAMPLE ONE
RETROGRADE

RETROGRADE
MV: removes individual layers of clothing
EI: to display the characters growing independence which is tarnished by the lingering affects of male counter part as she replaces the clothes as she feels more comfortable in what she already knows

21

CHOREOGRAPHIC DEVICES - SAMPLE TWO
AUGMENTATION

AUGMENTATION
MV: extends right leg while on the floor and balancing on her left leg and hands on the ground. Later repeated to demonstrate augmentation as she extends both legs horizontally alternating but while standing.
EI: growing exploration of herself as she in no longer confined by the rulings of her male counter part.

22

CHOREOGRAPHIC DEVICES - SAMPLE THREE
TRANSPOSITION

TRANSPOSITION
MV: waddle which is then later replicated a she sits on the ground sitting with legs open and replicating the waddling movement as she rocks her body from either side.
EI: convey the gradual unravelling of the dancers mind as she comes to the realise that she is alone but not yet independent and tris to communicate her diminishing mindset

23

CHOREOGRAPHIC DEVICES - SAMPLE FOUR
TRANSPOSITION

TRANSPOSITION
MV: dancer lies on the ground on her side to complete a running movement as she repeats a circular motion with he legs. Displays transition as the dancer later conveys the running motion while travelling on her knees to bring each knee forward with the alternating arm brought forwards as well
EI: progression of the characters exploration of her identity as the transposition is displayed growing in level

24

CHOREOGRAPHIC DEVICES - SAMPLE FIVE
REPETITION

REPETITION
MV: dancer faces the back to extend her leg from the knee and create a circular motion while leaning on the table. Repeated to the front
EI: the dancers inability to move forward within herself as she remains stalling by the effects of her male counterpart which abandoned her

25

CHOREOGRAPHIC DEVICES - SAMPLE SIX
ABSTRACTION

ABSTRACTION
MV: faces back wall while using arms to replicate the motion of playing a violin
EI: abstraction was used to convey the dancers plead for sympathy as the pedestrian gesture of violin playing suggests drama and suspense. Masking the characters identity to plea to the audience for their help

26

WHAT ARE THE 2 INFLUENCES FOR EI?

1.EK'S PREVIOUS CHOREOGRAPHIC WORK
2. PSYCHOLOGY

27

WHAT ARE THE 2 INFLUENCES FOR MV ?

1. DONNA FEUER
2. EK'S PREVIOUS BALLET TRAINING

28

WHAT ARE THE 2 INFLUENCES FOR FORM ?

1. PSYCHOLOGY
2. POST MODERNISM

29

WHAT ARE THE 2 INFLUENCES FOR PA?

1. FILMATIC FORMAT
2. EK'S PREVIOUS TRAINING AT MARIEBORG FOLKS COLLEGE

30

WHAT ARE THE FIRST THREE MOVEMENT PHRASES FOR ELEMENTS OF MOVEMENT ?

1. Shaking of head with constrained hands
2. moving horizontally scots stage with alternating hands behind nape of neck while facing
3. kneeling on ground and alternating arm traces diagonal line in front of body