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28 Cards in this Set
- Front
- Back
SWANSONG:
Choreographer |
Christopher Bruce |
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SWANSONG: Company |
Various, including Rambert Dance Company |
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SWANSONG: First Performance |
London Festival Ballet (English National Ballet) 25 November 1987 First performed by Rambert Dance Company 12 April 1995 |
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SWANSONG: Dance Style |
Contemporary, with physical contact and some balletic movements. Includes references to social and theatrical dance.
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SWANSONG: Choreographic style |
Episodic, dramatic, thematic.
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SWANSONG: Theme |
Human rights; prisoner of conscience |
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SWANSONG: Starting point |
The work of Amnesty International; saying goodbye (to a career as a dancer); the experiences of Chilean poet Victor Jara and the novel, A Man, by Oriana Fallaci. |
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SWANSONG: Structure |
Introduction followed by seven sections. The victim remains on stage throughout and performs a solo in section 3 which has motifs that are repeated and/or developed in sections 5 and 7. |
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SWANSONG: Dancers |
3 dancers, normally male. |
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SWANSONG: Accompaniment
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Philip Chambon Composed in collaboration with the choreographer. Electro-acoustic with digitally sampled sounds, vocals, a reed pipe and popular dance rhythms. Unaccompanied interludes enable us to hear the tapping of feet. The score for the more lyrical solos by the victim includes the sound of a reed pipe. |
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SWANSONG: Costume |
Christopher Bruce Everyday clothes associated with roles - uniforms for the interrogators and jeans and T-shirt for the victim. Interrogators also wear baseball caps and the victim wears a clown’s red nose in one section. |
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SWANSONG: Lighting |
David Mohr Overhead lighting and a diagonal shaft of light to suggest natural light from upstage left. Footlights create shadows. Atmospheric. Overhead lighting focuses on the area of the chair during interrogation and when the victim is alone. |
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SWANSONG: Set |
Christopher Bruce Bare stage except for a chair, suggests a cell. Interrogators always exit stage right suggesting a single door. The chair has many purposes and is used symbolically as a weapon, a shield and shackles. Props (canes and a red nose) are used to degrade the victim.
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SWANSONG: Staging |
Proscenium |
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PERFECT: Choreographer |
Kevin Finnan and the dancers |
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PERFECT: Company |
Motionhouse |
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PERFECT: First performance |
January 2005 |
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PERFECT: Dance style |
Combines dance theatre and aerial work. Strong physicality and contact work. Style uses and defies gravity. |
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PERFECT: Choreographic style |
Physically adventurous and ‘filmic’. Strong emotional content. Finnan always begins with the set. Collaborative. |
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PERFECT: Theme |
The way we witness time and how as a force it pulls and shapes us, drawing upon the concepts of waiting, nurturing, time flying by and the ageing process. |
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PERFECT: Starting point |
Space and time. A book called The History of Barbed Wire |
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PERFECT: Structure |
13 sections |
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PERFECT: Dancers |
3 women & 2 men |
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PERFECT: Accompaniment
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Sophy Smith and Tim Dickinson A mixture including percussion, voice, electric guitar. Creates atmosphere, sometimes matching and sometimes contrasting with the movement content |
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PERFECT: Costume |
Claire Armitage Simple, everyday, gender-specific. Men wear white shirts and black trousers. Women wear short, strappy, black dresses. Clean lines and shapes, adapted to work around harnesses for flying. |
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PERFECT: Lighting |
Mark Parry The lighting works with the film and the set, sometimes sharpening the focus, other times layering the image. In some sections lighting divides the floor space and creates shadows. In other sections purple and gold lights achieve a bright, colourful effect. |
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PERFECT: Set |
Simon Dormon Box frame set: a white box gradually revealing a wire cage. Many different uses. Set includes projection, sand, a paper screen, water, a gauze screen and slings. Rakes and brooms are used as props. |
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PERFECT: Staging and film |
Theatrical Film by Caroline Bridges. Film within performance adds another layer to the choreography and meaning. Film is used to set the scene, light the dancers and interact with the dancers. |