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The Envelope and Park comparison

By David Parsons
by

Sinan Mercankaya

on 20 June 2014

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Transcript of The Envelope and Park comparison

The Envelope
By David Parsons
By Sinan Berk
The Choreographer
Date/When:
The Dacne was performed in 1986.

Number of Dancers:
There were 7 dancers that took part in the performance of 'The Envelope'.


The dancers in this piece were not differentiated by the moves they did or the costume they wore.
They don't all dance in unison all the way through. More than one dancer is of stage at points in the dance making there be a different number of dancers in sections.
The whole dance is broken up into smaller sections, which include;
Duets
Solos
Ensemble
Small Groups
Accompaniment - Music by Composer Gioacchino Rossini
The italian composer Gioachino Antonio Rossini was the writer of over 30 Operas. He also wrote sacred music, chamber music, songs, and some instrumental and piano pieces.
Style of music was classical and the music was good for dance.
The Dance was a contemporary piece with a very clear reference to classical ballet.
Movement
Humorous
Innovative
Quirky
Creative
Gestural
Contemporary piece is a very clear reference to classical ballet.
The movement uses the whole space and a lot of the movement is linear. the dancers move side to side in linear pathways
The whole dance is centered around the one prop >> The Envelope.
Other props include a
red carpet

and
water on a tray


The shape the lift is creating is of the envelope prop in the dancers mouth.
The costume is designed by Judy Wirkula is a fully black outfit with shows no difference with males and females. The outfit is a loose body costume with ankle long trousers and sleeveless tops.
glasses. Their heads are covers with only their faces visible to pull more focus towards the face.
the dancers are bare footed and there are no costume changes throughout.
The lighting is set by Howell Binkley
and is at a general wash throughout throughout the performance which little colour and isn't bright white.
A lighting change that happens is to spotlight on center stage a solo where the dancer has the envelope in his mouth. The light is little fainter at this stage.

For the set design the worked is performed end on with the dancers facing the audience as much as possible.Procesinic march staging with a black back cloth at the back and very elegant looking matal pillars around the edge. The staging isn't changed in this performance.



A lot of very Angular movement and positions is used.
A small amount of lifting and sporting and loads of differentabstract shapes

The dance doesn’t use all levels/planes/dimensions
Exits and entrances all happen from the sides in this performance and are used a lot! There aren't any levels created by the set, they come from the movement of the dancers.

Stimulus and Themes
A friend of Parsons sends him extracts of Rossini's music. He thinks that they are really nice and would work very well with dance.
David finds some magazines on a table sees a photo of an Arabic women wearing a head dress and decides to use it as an idea for the costume.
He shifts the paper on the table looking for more ideas and decides to include this as a movement in his dance.
Theme of authority or working in an office area. Levels of authority structure.
A red carpet is rolled out for a dancer to stand on and be pulled out of stage. The use of this Red carpet gives a celebrity status showing importance. The music in this section is very majestic.
The dance relates to opera which is enjoyed by more of the upper class people. Similar with ballet and sometimes both can be featured together. They both have a very clear structure
Specific mimed gestures in ballet and opera are used in the dance piece o the envelope. (Gesture like love, marriage, death, etc...)
Bibliography
http://depts.washington.edu/uwdance/cdc/archive/repertoire.php?t=chor&id=28

http://www.parsonsdance.org/about/david-parsons/

http://en.wikipedia.org/wiki/Parsons_Dance_Company
Born Rockford, Illinois, October 29, 1959.
"I want audiences to understand what I'm saying and at the same time offer them something for the imagination and personal interpretation. I think it's very important as an artist to touch people."
Dance Magazine 2000

American dancer, choreographer and company director
Company Members:
David Parsons, Sarah Braverman, Christina Ilisije, Jason McDonald, Steven Vaughn, Ian Spring, Elena D'Amario, Lauren Garson, Eric Bourne, Melissa Ullom
Artistic Director:
David Parsons
Co founder:
Howell Binkley (lighting set designer)
Assistant Artistic Director:
Elizabeth Koeppen
Executive Director: David Harrison

In 1985 the Artistic Director DAVID PARSONS founded his 'Parsons Dance Company' with lighting designer Howell Binkley. and since then he has managed to create over 70 different dance performances.
David Parsons raised in Kansas City in Missouri, started of by only being trained in Gymnastics. He then became part of the Paul Taylor Company, where he became a lead dancer, which started of his career in dance. Realizing his talent and unique athleticism the company took David and put him up for many main roles including 'Last Look'. David decided that he wanted his own company and 2 years before leaving Paul Taylor he created the Parsons Dance Company, which turned out to be one of the united states most active and successful touring schedules of any modern dance company and he was able to emphasize the joy of pure movement in his choreography.
Rolled out for the main dancer to stand on and be pulled away.
Brought onto stage in the middle of the dance where he drinks it before carrying on.
- The reason being that have paper or in this an envelope in your mouth can make it very dry, and in this section David wants to show that very literally.
No move of body weight (lots of arm gestures are in this piece for example.)
A lot of quirky shapes, gestures and movement....
Movement is mirrored in the dynamics of the music.
Comparing 'The Envelope' with 'Park'
Accompaniment
Section 7:
The Solo:
- Continues with the French horn.

- String plucking all the way through providing the rhythmic tempo -> lower strings (cello, double bass)

-Repeated section, ending with a development.

- Long drawn out phrases which give fluidity to the song and the movement.

- The strings -> Works up and down the scales.

- The most skilful player plays the French horn because it takes a lot of effort. -> (Virtuoso) would be a solo which requires a lot of skill.

There is a pause in this scene.
-> The dancer takes the drink of water which is unexpected when first seen but is actually effective as it links to reality
-> Could have been too long and exhausting for the dancer without a break.
-> The waters purpose is very literal -> The dancer has a dry mouth from having the envelope (paper) in his mouth and drinks water to stop this.

Park by Jasmin Vardimon
The physical demands that the dancers face, such as the fluidity of the complex movements and how all the dancers have each series of sequences in perfect unison, also the way they were able to interpret each characters. The characterisation made the choreography and storyline so believable. In my opinion the show was absolutely breath taking.
"I read see and hear all the time and get influences from many little things, mostly from real life."
Human behaviour is a big influence in Jasmin Vardimons work, and this is strongly seen in her choreography. I believe that the psychological work that she did previous is one of her main inspiration when creating as she has a great understanding of the human psyche. Vardimons style merges together physical theatre and dance, with the outcome being energetic, explosive, beautiful with quirky character. Another influence in Jasmin Vardimons work is multimedia technology. In many of her works strong visual effects have been used to make the pieces come to life. Video recordings, video playback, special effects and complex lighting have been used to create the mood and atmosphere for the setting.
Jasmin Vardimon Company
"Jasmin Vardimon Company (JVC) is one of Britain's most pioneering physical dance theatre companies, creating work that excites both the eye and the mind by pushing the boundaries of human physicality whilst engaging in universal, contemporary themes that strike an emotional chord."
In this piece of work I will be discussing one of Britain's leading Contemporary Choreographers, Jasmin Vardimon. I will discuss her history, how she rose from the Kibbutz in Israel, to become one of the most influential and dynamic choreographers in Britain today. I will discuss her company's origin, her most important work to date, achievements and awards that she has received and how she is influencing the contemporary dance world in Britain and abroad today.
Influences
Throughout the past decade Jasmin Vardimon has developed a strong recognisable artistic voice in the contemporary world. Vardimon's work is centred around the human behaviour, which is portrayed through the storyline of each piece. Vardmons' choreography is "Renowned for dynamic, funky and highly physical choreography that is thrilling to watch". From personal experience of seeing Jasmin Vardimon show called Yesterday in the McRoberts Theatre, Stirling, I felt the performance was one of the few shows that I have seen, were I was unable to take my eyes off the dancers.
Biography
Born and raised on a Kibbutz in central Israel, Jasmin Vardimon has become a significant element within the British dance scene. Before turning to dance, Vardimon done military service at the age of 18 for two years, she also worked as a psychological "interviewer", studying and interviewing people.
She has made a name for herself throughout the years after first joining the Kibbutz Dance Company, which is one of Israel's principal dance companies, before going on to win the British Council "On the Way to London" award in 1995.� After moving to London in 1997, Jasmin Vardimon founded her own company Zbang, which is now know as Jasmin Vardimon Company.

Park
The Envelope
Composer:
Rossini
Style:
Classical
Compilation of ‘excerpts’ of Rossini’s music.
Rossini is famous for composing Opera music.
Section 1:
The Introduction:
Low key introduction, builds up -> Dancers entering, increased tempo, predom strings -> woodwind, pizzicato -> dancers stepping in time with the music. Another instrument played in this section is the timpani drum.

Section 2:
Curiosity:
Continuation of the pizzicato -> dancers mirrors, big loud chords, melody running over pizzicato and this is a development of musical motif. Not a climax but is the highlight. There’s an Oboe melody over the pizzicato.

Section 3:
Initiation:
Building up to the highlight in tempo and instruments. Oboe melody returns. The same motif is carried out throughout, but the instrument has changed to a clarinet and this is another development. Again there the Pizzicato and the main focus is in the envelope. The dancers movement mirrors what’s happening on the music.
Section 4:
Ballet:
Cl
ear musical motif in this section -> mainly strings -> faster tempo -> higher in pitch -> a lot of repetition. Mirrors the music -> direct correlation. Jumps are in sync with the bet of the music, but one of the dancers (Laura in ours) jumps on the off every time which is harder to do. We build up to the false climax, then everybody is in sync. There is a relationship of the motif that was in the introduction. The tempo and the volume changes, we’re back on strings and there’s a change in pitch.

Section 5:
Regal:
- The style of the music is a march for this section and the sounds of the cymbals crashing shows this. Military marching is a 2/4 beat and the 1st beat of every bar is the cymbals crashing.

- There’s also a lot of call and response in this section which also shows the changes of instruments going; brass, woodwind, brass, woodwind...

- There also is a lot of repetition of the motif in this section, but this isn’t always in the same tune or instrument.
Section 6:
Efficiency section:
- It’s got its own introduction and this is really important structurally.

- Its mainly string based offering a contrast to the bass. The strings are quite fluid in contrast to the previous section.

- As a really high pitch, there again is a continuation of the regal theme or it’s in a similar style. Not regal but importance.

- There again is a lot of repetition of musical motif, which is also continually developed but played by a different instrument each time. (Strings, flutes, and oboe.)

- Part of the duet where Lauren shakes (in anger) shows a brief moment of frustration where the flute joins in over the top. (The instrument played here is the French horn)
Section 8:
The Finale:
- Starts with the solo Opera singing -> linking to one of the stimulus of the dance piece.
- Almost has its own introduction again -> the singing is the introduction of the finale.
- Fast tempo throughout.
-> Quickens, creating tension which contributes to the climax
-> Full orchestra creates full sound.
-> Use of rhythm + syncopation to build the jumps to the climax of the dance.

Section 1:
Bag Lady and Thug Solo's:
Silence to begin with creates atmosphere, can hear bag lady breathing, Attention seeker sings French song down megaphone. Later another track of recorded music comes in, stronger beat and darker melody, no lyrics. Modern style drums, guitars.

Section 2:
Tour Guide and homeless man dance:
Tour guide speaks over mega phone explaining myth behind mermaid fountain. Homeless man starts dancing in silence then track starts
-Repetitive melody on ethnic guitar type instrument, long notes and cymbal rolls.

Section 3:
Percussion section into tap dance:
Electronic music track by 'leaf cutter John', strong rhythms, fast tempo, drumming and metallic sounds. Tap dance has audible sounds of taps to rhythms in music then changes to lady singing 'do be do' to melody of 'singing in the rain'.
Section 4:
'the power of love' thugs rant:
Flirty lady's singing becomes dramatic- tune of 'Beethoven's 5th symphony', screams last note signifies terror. Strong anthem starts behind thug shouting his rant and gradually builds up in volume. Track is 'the power of love' by Frankie goes to Hollywood. Dynamic and emotional/rousing, on first climax, thug shouts from top of scaffolding.

Section 5:
Male group into seduction duet:
Track of music for male unison section is rhythmical drumming ‘ Trash a Go Go ’, strong beat and rhythms build up.
This turns into an electronic melody with descending scales at start called ‘Last delicious cigarette; quirky melody with range of instrument sounds, plays quietly.
Section 6: T
hug / dog and mocking homeless man:
 Flirty Lady sings tune ‘ be do be do ‘ , lively, cheerful melody. Thug/dog barks and gets shouted at. Softer, calmer piano melody with lyrics ‘By this river ‘by Brian Eno. Known for film music. Lady sings loudly to Walkman shouting lyrics but melody unrecognizable.

Section 7:
Business woman’s jealousy:
Business woman is heard laughing almost uncontrollably at various points it sounds more like crying.
Music track in background is quiet and gentle. Instrumental piece, sounds romantic and classical but modern instruments.
Section 8:
Strong woman controls Thug:
Music track with very strong beat and repetitive melody. Dance music, created on computer or synthesizer.
Strong woman blows whistle on specific counts in the music as if motivating or ordering dancers to continue.
Similarities and Differences
Action
Section 7:
The Solo:
-Subtle facial expressions at start of section. Movement is very restricted. Centered around ‘squatting’ position where ankles are held. Series of ‘poses’ to emphasise and exaggerate main arm motif. Clutching of the ankles prevent travel.
-First pause -> drink of water.
-Return to starting position from movement becomes initiated by the ‘pulling’ of the envelope. This general movement tends to move from side to side and up and down.
-Action content builds to incorporate more elevation, travelling and turning.
Second pause- returns to starting position again. Dancer manages to find a way to travel while still holding ankles. Rolls onto back and executes head gesture.
-larger arm gesture used to build into last section of work.

Park
The Envelope
Section 1:
The Introduction:
-Turning (Attitude, pirouettes)
-Stillness
-Arm Gesture (Main Motif)

2nd dancer runs in
-A lot of arm movements
-Elevation (hops, jumps, leaps)


Section 2:
Curiosity:
-The dancers come in looking at the envelope
-A lot of traveling mainly consisting of small steps and fast movement
-Steps happen on the beat
-elevation is also used in this piece where the dancers jump into the centre of the stage all around the envelope.
-A head gesture (which is the dancers taking quick sharp looks to different directions is used), which is later on used in the ballet section.
-A leg gesture is also used in this section (the leg bends out at the knee and back in after and a development on this gesture is used in the finale where everyone runs out of the circle, does this development and then returns to centre stage
-Arm gesture of the lift is used where the arms of the dancers create the envelope.


Section 3:
Initiation:
-Mainly gestural movement hips, bottom, elbow, then goes into main motif.
-Ripple done through the body
-Stillness (Looking at envelope)
-Elevation -> Building up elevation in solo’s to Hayley’s character who is the most elevated.
-Travelling
-Some turning

Section 4:
Ballet:
-Actual ballet steps being done by Laura’s character. Petite jetes, temps leve, assemble.
- All in turnout as its ballet.
- Lots of travelling
-Turns and falling
-gesture (Arm)
-lots of elevation + Jumps
- Parallel use as well.


Section 5:
Regal:
-Lots of gestural movement. (Leg kicks + arm gestures)
-Some travelling
-Falling
-Upright posture
-No elevation or jumps but there is a supporting elevation.

Section 6:
Efficiency section:
TURNING- Single turns, Attitude turn
(Small group)- repeat initiated movement section
TRAVELLING- Walking (leading with heels)
GESTURE- Arm gestures
-contains al 6 basic dance actions
(Small group)- heel walks but more exaggerated
-Arm motif and head gestures used.
-Travelling sequences with elevation and turning.
-Floorwork used.
- Starts and finishes with walking.
Section 8:
The Finale:
-Lots of elevation in section, i.e. hops, jumps, springs.
-Phrase motif re-appears.
-Flying jump appears.
-Lots of travelling phrases throughout section.
-Whispering gesture.
-Frantic use of arms and hand gestures at the end building up to the end position.
-Action is very complex in phrases.
-Head Gesture at the end to put focus on the prop.
-Throughout section, dancers moving in and out of parallel and turn out position


Section 1:
Bag Lady and Thug Solo's:
-Bag lady- arm circles overhead, turns using bags, sitting on bench, comical walks and wiggles of bottom, crouching and turning on the floor, swatting fly/wasp with bags.
-Thug- high jump over wall circling arms and legs, walks and turns leading with head, acrobatic leaps and throwing body sideways to floor, army type crawls on the floor, dancing with ball in hands. (Basketball)

Section 2:
Tour Guide and homeless man dance:
Tour guide walks through megaphone and some others follow her, tourist lady takes photo. Attention seeker man graffiti’s floor. Homeless man does series of rolls across space. Tourist lady and businessman do random motifs and movements circling arms around heads, turning, 2 x sidekicks, phrases of movement get longer and include attitudes, floor work and sideways throw thug in previous section. Homeless man does floor work section, shuffling along, barrel turns and rolls always in contact with floor. Later tour guide and tourist lady do section of developed attitudes, turns, arm gestures etc.


Section 3:
Percussion section into tap dance:
Female dancers continue phrase of arm circles, bounces in crouch. Thug and female partner enter chasing attention seeker, contact work based around holding on to each other/ arm around shoulders but swapping sides and travelling. Take each other’s weight and jump over wall. Movement influenced by street/ break dance with isolations, tap rocks and spins on the back. Attention seeker later does tap dance, phrases highlighting rhythms in accompaniment and including typical steps like time steps and wings.

Section 4:
'the power of love' thugs rant:
Thug takes megaphone and makes contradictory rant about political beliefs. Firstly lady removes shoes and starts to move in a more feminine, sensual way using hips. Takes flag to thug who does arm gestures pointing and waving flag in big strokes. 
Other dancers run on as if pulled by wind from the flag. Staggering around then more choreographed movement including rolls, turns with elbow leading, leaps and falls to floor. Phrase where dancers are holding onto parts of set to stop being blown away. 


Section 5:
Male group into seduction duet:
Suit man does jerky isolations of head, shoulders and ribs on his knees then walks lead with torso.
Male dancers all do section with jogging side to side and fist gestures
Like boxers then develop to do big jumps,kicks and floor rolls. Pivot turns on spot. Thug knocks other male out of way then does duet with flirty lady.
Her movements very aggressive, pulling him towards her, putting head down his trousers. She lassos him and leads him round. Counter balances and contact.

Section 6: T
hug / dog and mocking homeless man:
Thug’s partner walks on to separate him and flirty lady. Attacks him lifting and throwing him to floor. Thug crawls following partner like a dog. Suit man does phrase with spins, jumps and walks in crouch holding onto jacket or hands in pockets. Chased off by thug/dog. Flirty Lady dances pushing trolley. Leg gestures, flicks and stamping footwork like Flamenco dance. Homeless man does very contemporary phrase, arms leading, leans, contractions, turns etc. Attention seeker copies behind mocking him then continues own phrase in more commercial jazz style.


Section 7:
Business woman’s jealousy:
Business woman does short solo phrases of movement including circles of round upper body, manic waving gestures with hand, big waves with torso and arms etc. In between she walks to different positions in space.
Couple on bench also do short bursts of choreographed movement standing up, turning ,gestures with elbows and hands round head, use bench to take weight and some floor work. In between have awkward moments of tenderness, trying to kiss.
Thug crawls and acts like dog, sniffing and digging.

Section 8:
Strong woman controls Thug:
Strong woman calls Thug/dog blowing whistle and clicking her fingers. She does very strong motifs with military feel, marches, leg gestures, sharp arm extensions, flicks and circles. Throw weight to floor and does rigid turns. Thug/dog crawls following her, attempts some of her movements.
Naked man bathes in fountain .Other dancers enter and join in with strong woman’s movement phrases .Repetitive arm circle motif with rocks facing side. Floor work, lunges and turns in separate phrases, breakdance elements.
Strong woman pulls and kicks Thug in anger then gets kissed by flirty lady to calm her down.
Similarities and Differences
Relationships
Section 7:
The Solo:
-Very close relationship between the music and the dancer; the section is predominantly a solo for the French horn instrument/it is a solo for a dancer, as the instruments move up and down the scales, the dancer moves up and down levels, as the music gets more intense -> the dancer executes elevations and turning.
-Strong relationship with prop -> although predominantly held in the mouth, it is clear that the envelope is in control and forcing the dancer to move in different directions.


Park
The Envelope
Section 1:
The Introduction:
-Strong relationship with the prop.
-First dance Throws the envelope of the stage yet the envelope keeps coming back to him (is thrown back onto the stage). The envelope still has power over the dancer but in a different way to how it’s in control in other parts of the dance.
-A relationship in the dancers is also seen as there is a Cradle lift in this section creating the shape of the main prop: the envelope.

Section 2:
Curiosity:
- There’s a relationship between dancers, as there is a lift.
- strong relation between music and movement.
- Elevation, big chord in music.
- In circle with concentration on envelope.
- Space used to draw attention to the prop.

Section 3:
Initiation:
-Strong relationship evident in the end when dancers drop suddenly in time with the music.
-Chords end of section.
-Solo instrument are played when dancers are doing a solo.
-Clear relationship between dancers and envelope (When passing the prop)
-The envelope is in control in he solos.

Section 4:
Ballet:
-Hand gesture in jump highlights the costume. (The glasses)
-Laura’s relationship to ensemble -> (Call (Laura) and response (ensemble)
-Starts with Laura in control then it changes (When she’s chased by the rest of the group)
-also a relationship between dancers to lighting -> there's is a spotlight on Lauras character in the false climax.



Section 5:
Regal:
-Relationship between movement and music: -Rhythmic and accented.
_Dancer to dancer
-> Small group of dancers, together/equal unison
-> When Louis's character appears the status/equality changes
-Lift - Dancer to dancer
- Prp to dancer - anther way of transferring the prop
-Prop to prop - Carpet is used to transfer prop.
Section 6:
Efficiency section:
-Duo -> Dancer to dancer relation
-Small Group -> Dancer to dancer relation
-Whole group -> Dancer to dancer relation
-Prop -> Lots of exploration of ways to pass the envelope
-Music -> Dynamics of movement mirror the dynamics of the music.
Section 8:
The Finale:
-Solo, Duo, Trio, Small group, whole group formations.
-Strong relationship between dancers and prop -> passed frequently throughout section, which causes the audience to focus on it. Lots more interesting ways shown of passing the envelope.
-Strong relationship shown between all dancers in the way the space is used.
-Strong relationship with music as it clearly builds up to a climax in this section and the movement becomes faster and more frantic to compliment this.

Section 1:
Bag Lady and Thug Solo's:
Bag lady and man (attention seeker) on stage first. She tries to strike rapport but he is waiting for someone else. Gives him money and he sings moving around her as she dances solo. No contact. Tourist and businessmen enter in the background. Thug dance solo but occasionally go close to the people to intimidate them, then moves off. Homeless man approaches him and they argue, thug puts head in his sleeping bag.

Section 2:
Tour Guide and homeless man dance:
Tourist lady and businessman are coupled and stick close together at start following tour guide.
Homeless man mostly dances solo but later makes contact with others trying to initiate a duet (looking for love/affection but failing).
At end, tour guide and tourist lady do unison section but no relationship or contact, as they stay apart.




Section 3:
Percussion section into tap dance:
2 females at start have no connection to each other. Thug and partner clearly a couple and show strength together. Command space and harass others.
Tour guide encourages attention seeker to tap dance putting boards down for him to follow her and he shows off performing solo to her.


Section 4:
'the power of love' thugs rant:
Flirty lady initially terrified of thug, shows in body language and voice but then strangely attracted to him. Thug commands stage showing he's in charge. Other dancers move individually then in time with each other, lead and manipulated by the swings of his flag. Thug is controlling them. Flirty lady and attention seeker kiss as if brought together by terrifying event. Thug chases homeless man up lamp post like hunting a monkey. 



Section 5:
Male group into seduction duet:
Attention seeker flirty with lady on bench then other male characters join them.
Males all fighting for her attention, trying to show off in a group. Very testosterone fuelled choreography and all focus aimed at flirty lady who walks round them.
Thug is last man standing so wins her affection. Duet, she is aggressive , forcing and manipulating him .Thug tries to keep her at a distance.


Section 6: T
hug / dog and mocking homeless man:
 
Thug’s partner initiates fight duet showing she is the boss and taking back her possession.
Suit man focusses on business woman to start then teases thug/dog but gets chased away by him in the end.
Attention seeker offensively mocks homeless man’s solo to make it a duet. Homophobic, suggestive gestures.



Section 7:
Business woman’s jealousy:
Flirty Lady and attention seeker are a couple, eyes only for each other at first. Duet all based around getting closer and doing things as one.
Business woman does solo at same time but tried to get their attention or pretend she is with someone herself. Jealous of their relationship.
First Lady distracted when Thug/dog comes on and no longer engages with attention seeker.


Section 8:
Strong woman controls Thug:
Strong woman controls and orders Thug/dog around. Showing they are together and she is in charge. He is submissive and compliant.
Group unison section involving 6 dancers then drop out of unison in pairs to do own duet phrases. Later all do own phrases.
Strong relationship with music as the tempo and beat drive dancers along.

Similarities and Differences
Dynamics
Section 7:
The Solo:
A ‘pulling’ quality is evident in the first pat where the dancer looks like he is trying to free his hands from his ankles or possibly trying to pull his body off the floor.-A ‘pulling’ quality is evident where the envelope appears to take control again and leads the dancer into moving in different directions.-Strength is shown in the series of poses.-A flexible and free approach is evident in the longer travelling sequences to highlight that the envelope is causing the dancer to move.
-The travelling with hands holding onto ankles shows a strong and sustained quality, which is then contrasted with the roll onto the back and short sharp head gestures. Strong and sustained arm gestures complete the section.
Park
The Envelope
Section 1:
The Introduction:
-Fluid phrase motif and really strong gesture (muscle man)
-2nd dancer has very direct and bound movement with is important as it shows that the dancer is in control of the movements/dancer.

Section 2:
Curiosity:
- Very strong dynamics in the lift when holding ‘the envelope shape’.
- Hesitant
- accented
- Precise and neat
- Suspension of falling in the circle before walking around in circle.
Section 3:
Initiation:
-Ripple + Shaking seen at the start and end of section and this is started from where the prop is.
-At the end -> sudden and sustained changes of level at the end.
- Dancers being pulled by envelope.

Section 4:
Ballet:
-Bouncy at start
-Accented-Rhythmic
-Controlled + Bound movement very sustained and held. The envelope is no longer in control.
- [CHORD] then things chance, her movement is more flexible + fluid and she no longer has control.
Section 5:
Regal:
-Controlled energy
-Sustained energy
-Fast, frantic and fluid movement by Loius's character.
-Fluid arm gestures from ensemble with sudden snap of energy to the end of the phrase.
-Very precise movement all way through.
Section 6:
Efficiency section:
-Very precise dynamics.
-Duo, Bound and direct -> Contrast- fluid when doing traveling sequence at the end
-No control on the shake
-Small group- stiff + robotic movement which contrasts with the initiation.
-There is a sudden use of energy in the repeated motif.
-Sharp equality- head gesture
-Elevated phrases are strong and sustained.
Section 8:
The Finale:
-Clear change in tempo affects dynamics. Dynamics are quick, sudden and sharp. Lots of sustained energy needed on the flying jumps.
-Action forces the dynamics to change frequently between free
-flowing and bound movement.
Section 1:
Bag Lady and Thug Solo's:
Bag lady- heavy and lethargic as if tired/unfit, becomes more energetic and free with music, swinging momentum, irratic, sharp dynamics when swatting fly/wasp.
Thug- big energy and presence entering stage, sharp movements, direct leading with head, stiff bending from waist, throwing weight around, boisterous.

Section 2:
Tour Guide and homeless man dance:
Tourist and business man- sharp dynamics and sudden bursts of energy as if in hurry or trying to keep up.
Homeless man- more fluid, free flowing energy where each movement melts into the next. Still energetic and builds up to be stronger at times.



Section 3:
Percussion section into tap dance:
2 female dancers strong, direct dynamics then fling arms back with less control and throw heads back. Thug and partner have very sharp and aggressive dynamics, accenting certain counts and jolting towards other dancers sharply to intimidate them.
Tap dancer has more relaxed energy, bouncy and light on feet. Then runs hurriedly when chased by thug.


Section 4:
'the power of love' thugs rant:
Flirty lady fidgety to start with sudden flinches. 
Thug moves with conviction and strong energy showing he is aggressive and powerful. 
Other dancers travel and turn wildly, out of control. There is a seance of freedom to their dynamics as they are being controlled by something else. 



Section 5:
Male group into seduction duet:
Suit man solo is very jerky/twitchy and disjointed.
Male group have bouncy, strong dynamics. Movements are energetic and they build up show competitiveness.
Flirty lady ‘s dynamics are very aggressive but at times she teases him with more winding, fluid hip movements then suddenly pulls him.


Section 6: T
hug / dog and mocking homeless man:
Thug’s partner has very strong energy and aggressive dynamics throwing and hitting him.
Suit man’s movement is jerky, bouncy but stiff in torso.
Flirty Lady flicks legs fast but control.
Homeless man has much softer, more fluid, sustained dynamics.



Section 7:
Business woman’s jealousy:
Business woman’s phrases are controlled at first but become bigger and more manic. Trying to subdue energy but it takes over her. Walks more formal and direct.
Couple dynamics gentler, hesitant when flirting but on unison phrases speed up and have a sense of freedom and letting go.


Section 8:
Strong woman controls Thug:
Woman’s dynamics are very strong and sharp. Controlling, military feel to her movements. Sometimes rigid but lots of energy.
Whole group’s dynamics match energy of woman’s when dancing in unison and pairs. Very rhythmical and precise dynamics.
Strong woman very sharp and aggressive when attacking Thug then seems to melt and relax after kiss.

Similarities and Differences
Devices
Section 7:
The Solo:
-Arm motif appears again.
-Development of the initiated movements from earlier in the work.
-Highlight-pauses in the section -> dancer takes a drink of water and returns to starting position
-addition of another art form -> singing to support link with opera (Rossini’s Music).


Park
The Envelope
Section 1:
The Introduction:
The devices used in this section includes:
-Repetition
-Phrase motif (turn with knee up)
-Arm Gesture Motif (Strong arm)
-fore arm movement of the 2nd dancer is repeated. (T-rex thingy) -> (Repeated by the ballet sections solo dancer and the chorus as well)

Section 2:
Curiosity:
- The main motif is used a lot.
- Another arm motif used in lift. This is also used later on by the dancers in the ballet section and also is used in jumps.



Section 3:
Initiation:
-Main arm motif
-Unison however with a twist as one of the dancers is facing the opposite direction. (This makes it different and interesting)
-Repetition is used
-End shake -> complimentary, all same but at different angles.
-Focus -> everyone’s focus point at this stage is the envelope.


Section 4:
Ballet:
-Main Motif
-Arm Motif
-Attitude phrase motif
-Jump Motif
-Head Motif
-Shuffle Runs
-Contrast (style ballet contemporary)
-Complimentary in shapes
-Contrast in dynamics (Laura changes)
-False Climax
-Repetition -> The ballet phrase



Section 5:
Regal:
- Use of Unison as a group and use of unison as a duo.
- Some Mirroring is used in this section.
- There is a contrast between main dancer (Louis) and the ensemble.
- Repetition is used in this section.
- The main motif is also used a lumber of times.


Section 6:
Efficiency section:

- MOTIF - altitude phrase motif and main motif used. The main motif is lo developed and inverted.
- There's unison sections and a lot of repetition is used.
-Canon is used.
-There is a contrast between groupings, levels and dynamics.

Section 8:
The Finale:
-Contract -> change of tempo from previous sections.
-Phrase motif re-appears.
-Repetition used throughout section, of action content and of previous motifs and phrases.
-This alone suggests it’s the climax of the piece as it incorporates many of the movements previously seen in earlier sections.
-Unison
-Canon (Floor rolls)
-Flying jumps is a development of an arm motif used earlier.
-Symmetry shown in shapes and formations.
-Mirroring
-Complimentarily shown in the return of the abstract group shapes and also in the end position.
-end position draws attention to the envelope, which has taken control. Additional head movement done at end is done in canon and further guides audience in terms of focusing on prop.

Section 1:
Bag Lady and Thug Solo's:
Repetition and development of motifs and phrases such as swinging bags. Thugs, sideways jump and turns leading with head.
Section 2:
Tour Guide and homeless man dance:
Motif and motif development, repetition of phrases, contrast with dancers doing different movement, accumulation of dancers, unison.
Section 3:
Percussion section into tap dance:
Unison between tour guide and tourist and later thug and his partner. Contrast with stillness and busy movement together. Motifs development e.g. strong couple contrast work. Repetition of movements e.g. jumps over wall.

Section 4:
'the power of love' thugs rant:
Contrast between thugs action and dynamics and the rest of the dancers. Unison phrases, dancers getting blown around. Repetition and development of motifs. Complementary- kicks done standing and siting on bench.


Section 5:
Male group into seduction duet:
Accumulation of male dancers to start jogging phrase. Long unison section.
Repetition of motifs and phrases .Contrast with male and female action and dynamics.


Section 6: T
hug / dog and mocking homeless man:
Contrast between dancer’s styles and choreographed and pedestrian actions. Repetition and development of motifs and phrases.
Variation of movement actions.



Section 7:
Business woman’s jealousy:
Repetition of motifs and short phrases, development of phrases.
Unison in duet and contrast both within and between duet and solo.
Highlight at end of business woman’s solo.


Section 8:
Strong woman controls Thug:
Contrast between woman and Thug.
Strong unison when other dancers join in and repetition of motifs.
Unison in whole group and in pair’s .Canon dropping out to do different phrases.

Similarities and Differences
Space
Section 7:
The Solo:
-Use of general space is limited within the section. Personal space is limited at first but then develops as the dancer starts to travel and turn.
-Dancer progresses through the levels as the music builds, but returns to a low level each time there have been a pause.
-After the first section, direction becomes very important. Starts with subtle movement from side to side and up and down. This develops into travelling where direction continues to be important in terms of moving side to side, up and down and diagonally. In this part, shorter travelling phrases become longer sequences.

Park
The Envelope
Section 1:
The Introduction:
-Stationary
-Personal Space (kinesphere)
-Dancer is in the right diagonal front
-2nd dancer starts running on a diagonal linear pathway, however a circular pathway is also used.
-Uses general space not personal in contract to the other dancer.

Section 2:
Curiosity:
-A lot of the space is used with the dancers in a circular formation.
-They travel a lot in and out of the stage.
-Starts in general space in a ‘circular formation’
- They travel a lot in and out of stage.
- Starts in general space the focuses into the centre in a circle.
- Linear entrance pathways

Section 3:
Initiation:
-The general space is used. Lots of linear pathways.
-Figure 8 pathway created by 3 dancers.
-Hayley’s character uses a lot of her personal space as the envelope is making her do this.
Section 4:
Ballet:
-General space used.
-Shape -> lovely abstract shapes
-Also nice curved spiral shape pathways. (Floor pattern) done by group
- dancers in this section focused on medium + high levels.
Section 5:
Regal:
-Diagonal direction travel.
-Limited use of general space.
-Use of linear pathways
-Use of level is significant


Section 6:
Efficiency section:
-Mainly linear pathways. -> curved pathways when feeding out of 2 lines.
-Good use of personal space.
-linear formation when duo join ensemble.
-All levels are used by dancers.
-Circle pathway is used before the exit.

Section 8:
The Finale:
-Linear formations, which travel, round in a circle.
-Movement mainly moves in linear pathways.
-Lots of entrances and exits.
-All levels used and dancers have to quickly move between them, i.e. flying jump -> high to low level.
- General space is used effectively-End phrase shows dancers in a line.
Section 1:
Bag Lady and Thug Solo's:
Bag lady- uses back of stage near bench, gradually moves to center but not much use of general space, returns to bench, use of low level.
Thug- high level jumping over wall, travels more using whole space but in square patterns with sharp changes of direction, more low level.
Section 2:
Tour Guide and homeless man dance:
Tour guise walks around space followed by others, direct pathways to areas. Thug stays near back then climbs over fence and goes off. Homeless man travels on diagonal pathway then uses whole general space working at low level. When 2 ladies dance, one uses center whilst other is right at the back.
Section 3:
Percussion section into tap dance:
Female dancers travel back and stand at back, tourist behind wall. Strong couple come on from back and use whole general space including low level floor work and eventually exit behind fountain. Attention seeker dances in center then follows boards set out on diagonal pathway and round a lamppost.
Section 4:
'the power of love' thugs rant:
Thug in centre then other dancers come on from various entrances travelling forwards and backwards, linear pathways. Thug uses higher levels standing on walls and scaffolding. 
Dancers spin and travel around the general space and later move around thug who stands in centre. 
Section 5:
Male group into seduction duet:
Suit man dances behind low wall at start. Others enter from different places.
Male unison section done in centre using whole space and changing direction-front, diagonals, side and back. Low level floor work.
Duet travels across centre and dancers circle round each other.

Section 6: T
hug / dog and mocking homeless man:
Thug and partner move across space to right side and back.
Suit man travels in different pathways in whole space and uses low level.
Flirty Lady makes square shape with linear pathways to end on bench at back.
Homeless man dances on spot stage right then exits at the back.
Section 7:
Business woman’s jealousy:
Couple still on bench from previous section, stay close to it but use levels and at one point travel forward from bench then back.
Business woman continuously changes position in the space using direct pathways. Most phrases done on spot facing different directions. Last phrase travels diagonally off.
Thug/dog crawls across back then enters from ldf .Crawls to case in centre then over to bench.
Section 8:
Strong woman controls Thug:
Strong woman enters from back and does phrases of movement which travel in a number of directions across space and then to back and down to front again. Thug/dog follows going round her in square pathways.
Group dance filling whole space facing left side but duets within this section turn and use different directions and levels.
Dancers move off in own pathways.
Similarities and Differences
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