The ideological concept of depression is a heavy topic worth a significant amount of conversation due to the rising prevalence in current society. Although thrown around frequently in common conversation, technically “Depression is a medical illness accompanied by symptoms of fatigue, sadness, self-limiting attitude, neglect, disability, guilt, etc” (Singh 3). All of these feelings are commonly shown in dance, evolving along with the evolution of societal standards. The choreography in both “Spectre-1914” by Martha Graham and the music video for “Elastic Heart” by Sia explore the topic of depression through movement, set design, and time frame. The movement for both pieces show extreme heartache and despair, but Graham’s movement is much
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The piece is characterized by two different attitudes represented by the two dancers. Ziegler performs quick, fleeting movement while LaBeouf performs strong, sustained movement. The piece begins with the two dancers standing opposite of one another inside a very large cage, space between them and intensity in their eyes. The two being to circle the outside but them come towards each other where Ziegler aggressively approaches LaBeouf, waving her arms and stomping her feet. This causes LaBeouf to retreat and subtly pound his chest, fearful expressions across his face. Ziegler continues to dance with movement that is all over the place-her body moves across the stage continuously, her arms flail wildly, and her legs are either stomping or going high into the air. LaBeouf performs with much more subtle movement, occasionally attempting to approach Ziegler in a strong manner before being frightened off again. After this behavior continues for awhile, Ziegler manages to capture LaBeouf’s arm and keeps a grip on him while swinging their bodies in a circle, eventually throwing him against the outer edge of the set. The motion continues in the same manner as before until they begin doing partner work. When partnering, Ziegler is continuously on top of LaBeouf, as if she is a wild animal trying to attack him. LaBeouf’s physical strength however holds her off. At the end of the piece, Ziegler is in the arms of LaBeouf and beats on his head as if she is gaining control. She then attempts to lead him out of the cage in which he is not able to
The piece is characterized by two different attitudes represented by the two dancers. Ziegler performs quick, fleeting movement while LaBeouf performs strong, sustained movement. The piece begins with the two dancers standing opposite of one another inside a very large cage, space between them and intensity in their eyes. The two being to circle the outside but them come towards each other where Ziegler aggressively approaches LaBeouf, waving her arms and stomping her feet. This causes LaBeouf to retreat and subtly pound his chest, fearful expressions across his face. Ziegler continues to dance with movement that is all over the place-her body moves across the stage continuously, her arms flail wildly, and her legs are either stomping or going high into the air. LaBeouf performs with much more subtle movement, occasionally attempting to approach Ziegler in a strong manner before being frightened off again. After this behavior continues for awhile, Ziegler manages to capture LaBeouf’s arm and keeps a grip on him while swinging their bodies in a circle, eventually throwing him against the outer edge of the set. The motion continues in the same manner as before until they begin doing partner work. When partnering, Ziegler is continuously on top of LaBeouf, as if she is a wild animal trying to attack him. LaBeouf’s physical strength however holds her off. At the end of the piece, Ziegler is in the arms of LaBeouf and beats on his head as if she is gaining control. She then attempts to lead him out of the cage in which he is not able to