Eassy for P.E

Biography of Christopher Bruce Christopher Bruce was born on the 3rd of October 1945 in England, he started studying dancing at 11 years old, and he began with tap and concert dance. After studying at the Rambert School Christopher Bruce joined Rambert Ballet in 1963, where he rapidly became the leading male dancer. Bruce appe atomic number 18d in hale caboodle such as Don Quixote in 1964 and Coppelia in 1966. Then the club began to experiment with ballet and modern, combine them to form, specifically the Martha Graham technique. Martha Graham created 181 ballets and a dance technique that has been compared to ballet in its scope and magnitude. many a(prenominal) of the great modern and ballet choreographers run through studied the Martha Graham Technique or have been members of her company. ) When Bruce danced the manipulation of Pierrot Lunaire, his own interpretive skills were noticed. Bruce was dominating e rattlingthing- practically living the bit. Bruce then run awaye d with Glen Tetley, he discovered that the theme for the impulsion comes from the centre of the body rom this base we use classical ballet as an offstage to give wider clutches and variety of movement In 1977 he was appointed associate music director of the company and was its associate choreographer from 1979-87, he created over twenty establishs for the company. Between 1986-91 he acted as associate choreographer alike for London Festival Ballet, later ENB, and resident choreographer for Houston Ballet in 1989. In 1994 he became artistic director for RDC. Often policy-making in his work, he integrates classical ballet and modern dance, often set against normal music by artists like Bob Dylan, Rolling St iodines.His productions include Cruel Garden, 1977, tone Dances, 1981, Swansong, 1987, and Rooster, 1991. Influences Social and governmental themes emerge as naturally as a reflection of his own concerns, although his aim is always fore close to create a piece of dance, rather than to make a statement. Nevertheless, he does not see a conflict between creating interesting movement and tackling difficult issues. He believes that there is much beauty in move Dances and similar works. Bruce is typically known for using themes that focus on personal or political issues.He has created abstract pieces simply even these have a strong undercurrent of emotion. Bruce uses a wide range of starting points, particularly poetry, literature, music, newspaper articles and world events. For example for those who die in cattle reflects his views and concerns of war, rooster is his idea of relationships, swansong is probably one of his most moving and emotional pieces and tackles the very serious issue of torture. His views on the general kind-hearted aim are portrayed in waiting.Throughout his career, Christopher has been a strong supporter of Amnesty Internationals ideas and through with(predicate) his choreography he has voiced his concerns for society, the persecuted and dupes of a wide range of world rights abuses. m and again he has concedeed to these themes and in his most recent work grinning in your face, these concerns are articulated as powerfully as ever. The Arts have an important theatrical role to play in exploring social issues and dance smoke be seen as the most human of the Arts as it is based on the body.The image of the tortured prisoner from swansong or the unjust imprisonment of Reuben Carter, in Hurricane are far more powerful than mere course can ever be. Video extracts of Christophers work have been apply to reinforce talks about human rights abuse. In the 1970s the focus for Bruce was South America and Pinochets bloody coup against the elected All checke government in Chile. He was deeply moved on the meeting of Joan Jara, who was tortured and murdered by Pinochets forces. This meeting lead him to choreograph, tactile sensation Dances.He took the theme of the day of the dead, simple symbolism and indige nous dance movements as a basis to start the plight of the innocent people of South American down the ages and their courage in the face of adversity. Certainly, Ghost Dances has a tremendous impact and audiences in many countries have delighted in its distinctive, rhythmic movement performed to haunting American tunes. However, it is the representation of the oppression of ordinary people, symbolised by the sinister ghost figures, which give the work much of its resonance.On the evidence of ghost dances, swansong, and cruel garden (about the death of Lorca at the hands of the fascists in Spain), human rights themes have provided him with a strong source of inspiration. He remains a passionate advocate for the role of dance and the arts in society and believes that seeing good work and the chance to perform, either as an amateur or a professional, an not only enrich lives, but can also be civilising influence. Ghost dances It was created in 1981, and was influenced by the political oppression in Chile.The style was coetaneous ballet unify with South American category dance. The setting of Ghost Dances is a rocky Andean location suggesting the let out of a cave. The colours (blues, greens and greys) of the backdrop were very effective and complimented the costumes and movement by adding to the eerie atmosphere. The whole stage was lit by a dim white light. The dead wear everyday clothes, which are inception to disintegrate. The Ghost Dancers appear as skeletal figures in striking skull masks. The piece is accompanied by Andiean folk music, with panpipes, guitars, and flutes.The tune is infectious, rhythmic and tuneful. The style of the choreography is sinuous and graceful, incorporating folk-dance influences. The Ghost dancers style of dance differs to the style of the dead. The Ghost dancers use very off balanced and angular Movements, there heads are the main key I think to making their dancing look as threatening as it does, they move them very quickly and sharply in unison and it creates a very menacing effect. The dead, on the other hand are very free flowing and graceful, their posture is very open chested and balletic with very neat but complex footwork.I loved this piece and the skills used to perform it. The fluid motion alongside traditional Chilean folkdance was original and inspiring to watch, it was a very moving piece and had a big impact on me because of the real life issues behind it. Swansong This piece was created in 1987 and was influenced by the share of political prisoners, the style was contemporary ballet and the prisoners movements were based on the idea of a swan. The piece is generally based around the fate of political prisoners and their need to break free.Swansong is a deliberately disturbing dance showing a dupe being tortured by a variety of means, although there is no actual violence on stage. It shows both(prenominal) the aggressive and sadistic element of interrogation, and how brainwashing, humil iation and playing with emotions can all be part of a long, nerve- racking patch. In combining vaudevillian humour, balletic virtuosity, and contempory dance expressionism with such a serious theme, he seeks to create work that can be appreciated at a number of levels by a broad audience.The three dancers are costumed archetypally and very much resembled the set, it was all very simplistic, with the prisoner in just a plain t-shirt and jeans and the two guards are wearing vaguely militaristic chromatic trousers and short- sleeved shirts could be viewed as policemen, soldiers, or guards. Programme notes have tended neither to give names to the characters nor to certify roles choosing ins afternoon tead to simply list the cast and allow audiences to make their own interpretation.The prisoner uses a very graceful and flowing style of dance whilst in contrast the two guards dance in a modern, camp manner, highlighting even more the separation and difference between the guards and pr isoner. The simplicity of the staging and ambiguity of the characters lends weight to its universality. The action could be taking place anywhere in the world. The stage is blue-blooded and staring(a) with the exception of a oneness wooden chair lit starkly from above, indicating perhaps a single bulb-hanging overhead in an otherwise empty room.There are seven roles in swansong all(prenominal) has a distinguishable theme and style. Section 1, questions and answers. Throughout the first division the dance suggests the interrogators and dupe playing a game of cat and mouse, the dance changing from trios to brief duets and unaccompanieds. in the duets the interrogators dance in unison, performing the same natural one after the other or slightly varying the steps to attack their victim. Section 2, tea for two. The section section begins with another interrogation session during which the second interrogator walks round his eated victim, and this time the victim taps out answer s but in a defiant mood. The interrogators change tatics. Section 3, first solo. The trey section is a solo for the victim alone on the stage and it is more lyrical both in music and movement than the proceding sections. It contrasts with the torture previously shown, appearing to be a cry of foiling and anger at the victims situation as well as evoking his urge for freedom. Section 4, slow trio. The victim immediately tenses and flinches as the first interrogator reaches towards him, and then relaxes when he is not harmed.No questions are asked. Again the hatchway sequence is performed twice but at the end of the chair is moved so that the victim cannot return to it. This becomes a recurring theme of this dance the victims chair is repeatedly pulled away from under him or position just beyond his reach. He is pushed and thrown around, the effect of the violence is in slow motion. The victim curls defensively on the floor and is uncurled by the second interrogator and the tortur e continues. Section 5, second solo without accompaniment.Although this section repeats dance motifs from the first solo such as the jumps and arabesques suggestive of flight, it is generally more mimetic. The victim lifts the chair onto his back to make it appear he is carrying a huge weight on his shoulders. He then stands facing the audience staring through the bars of the chair, then he appears to crumble in frustration and the solo ends with his ankles trapped in the bars of the chair as if fetted. Section 6, cane dance. The feeler of the piece shows a build up of abuse and humility of the prisoner till the final section where the prisoner performs his last solo, his swansong.Rooster This piece was created in 1992 and in contrast to my other two chosen pieces is influenced by the Rolling stones the dance is based on the theme and context of the music. It is danced in a contemporary ballet style blended with modern dance to match the music. The set is a clear stage with natur alistic lighting and a white spotlight. The women wear ghastly skirts, tops and tights and the men wear black trousers and a skirt, a red dress is worn only in one number and that is scarlet Tuesday.The whole piece is danced to rolling stones music ranging from upbeat fast and rocky numbers to slower more relaxed music. The theme of each song in rooster reflects the character that is dancing it, none of the dances are linked, and each section occurs simply because of the different songs that are used, this helps to create an episodic structure. The tempo of the music dictates the style of dance the accelerated tracks are modern and contemporary whilst the slower ones are more balletic.This piece does not present a great deal of emotional involvment with the audience it is simply based on the theme and context of the music. You can see this by the fact that the dancers, the style of dance and the music purely dictate the song. A Time line of dance works which have been choreograph ed and produced by Christopher Bruce 1969 George Frederic 1972 for those who die as cattle 1974 Weekend 1975 Ancient voices of children 1976 bleak Angels 1976 Promenade 1977 Cruel Garden 1981 Village Sounds 1981 Ghost Dances 1984 Sergeant earlys dream 1984 Intimate Pages 1985 Silence is the end of our song 1985 Land 1987 The dream is over 1987 Swansong 1989 Symphony in three movements 1990 Journey 1992 Rooster 1995 skirmish point Section B Producing our own piece of choreography in the style of Christopher Bruce in groups. How has the work of the choreographer influenced and inspired my own performance and choreography? I chose Christopher Bruce because of the influences behind his choreography, the real life human rights issues that through symbolism he has transferred this into dance.He has successfully brought more awareness to serious issues that most people would not be aware of because it is not going on in this country. The fact that this affects Bruce personally is very i nspiring, as his pieces have real meaning and thought behind them. The three works by Christopher Bruce that I have chosen to study are ghost dancers and swansong because of the political human rights issues that influenced them and rooster because it was a contrast to the other two as its influence was the celebration of the Rolling Stones music.I thought these pieces complimented each other well to evaluate as each bears a large variation of accessible motifs, images and sequences of movement that I could re- interpret in my choreography in the style of Christopher Bruce. As it gave me the opportunity to analyse a variety of influences and issues behind the three pieces. Choreographic notes We choreographed a piece for a trio in the style of rooster. The set was clear other than three chairs that were used within the dance. We were dressed all in black and wore red scarfs round our necks. The lighting of the set was dark red