GCSE Performing Arts: Dance

Examination 19th May 2010

Revision Time!

You need to…

Be Organised!Be Prepared!Be Willing!

Complete all given tasks and submit them on the given deadline!

Section A

STUDIO PRACTICE

Warm Up

Mobilise JointsRaise CV Level / Heart RateOxygen to Muscles Improve Elasticity of MusclesPsychological / Mental PreparationPrevention of Injury

Warm Up Exercises

1 Shoulder Rotation, Arm Circles

and Spine Rolls

2 Swings / Jumps

3 Stretching – Groin Stretch, Calf Stretch, Hamstring Stretch

Cool Down

Return CV Level to Normal

Stretch – Squeeze out lactic acid – Prevent muscle soreness

Psychological wind down

Cool Down Exercises1 Slow Plies / Slow Walk Around

Space

2 Stretching – Groin Stretch, Calf Stretch, Hamstring Stretch

3 Relaxation Exercises / Imagery

Diet and Nutrition

CarbohydrateProteinFatFibreVitaminsMineralsWater

Pasta, Rice, PotatoChicken, EggsSteak, OilBrown Rice, BranFresh Fruit and VegFresh Fruit and Veg

Effects of a Balanced Diet

Energy Equation

Energy In = Energy Out

A dancer will therefore have enough energy to perform movement. This will

help to improve performance and prevent injury.

Healthy Lifestyle

Don’t Drink Don’t SmokeDon’t take DrugsEat a Healthy Balanced DietExercise Regularly Drink Water to stay hydratedSleep to avoid fatigue

Safe Practice

• Correct warm-up / cool-down• Appropriate clothing / footwear / hair• Remove jewellery• No eating / hydrated / know when to eat• Listen to and follow instructions /

technical awareness / work within limitations

• Check the space is safe, clear of obstructions / correct temperature

Treating Injury

PRI CE R

- Protection - Rest - Ice- Compression - Elevation- Recuperation

Components of MovementActions

Jump (Elevation)TurnGestureStillnessTravelTransfer of Weight

DynamicsTime (Quick / Slow)Weight (Firm / Fine)Space ( Direct / Indirect)Flow (Free / Bound)

Pause, Suspension, Accent

SpaceLevelsDirectionDistancePathwaysPositioningPlanes

RelationshipsMovement – Contrast - ComplementaryTime – Unison / Canon - + in oppositionSpace – Over / Under - Around / Through - In front / Behind / Next to

Motif Development

Action

Add ActionTake ActionRepeat ActionFragmentation (Change Order)Retrograde (Reverse Order) Perform action on other sidePerform action with different body part

Dynamic

Change dynamic (Opposite)

Add - Pause - Accent - Suspension

Vary quality and timing

Motif Development

Space

Change LevelChange Direction / FacingChange DistanceChange PathwayChange Positioning / Group Formation

Relationship

Change Relationships:

- Movement - Time - Space

Add Contact / Separate Dancers

Performance SkillsTechnical/Physical

Posture AlignmentThe flow of energyCo-ordinationBalance StrengthFlexibility Control Mobility

Expressive

FocusProjectionSense of StyleMusicalityCommunication of Choreographic IntentionFacial/Body Expression

Choreographic DevicesMotif, variation and developmentPhrasing ChanceAdditionRepetitionVisual and rhythmic designComplementary or contrastUnisonCanonClimax

The use of these in relation to the artistic intention or Dance Idea

Rehearsal Process• Evaluating throughout process - revising and

refining movement material • Rehearsal of technical and expressive skills• Systematic repetition (i.e. form, refine/evaluate,

perform again)• Mental Rehearsal• Analysis of strengths and weaknesses, e.g.

through use of video, viewing peers, or tutors• Presentation to an audience.

All elements of rehearsal process should provide feedback of some kind in order to inform the process.

Physical Setting Points

Remember the Magic List!

Physical Setting Points

Describe Set, Lighting & Props

• Colour• Shape• Size & Location• Style - cyc/structure

• Texture• MoodIt’s really important to DESCRIBE the set, lighting

and propsin each example that you discuss

Other Considerations

• Cost• Durability• Ease of dancing• Health and Safety• Size of Space

Physical Setting Points – Magic List

Physical Setting Contributions

• Support the dance style• Provide a context• Provide a sense of reality• Create interest • Can replace dancer - support• Time of day / Season• Establishes mood• Props help identify character• Can provide a climax• Setting the dance in an era• Can provide exits and entrances• Geographical location

Always Remember to Include Examples

• Creates social context• Light/set can structure dance• Props can inspire movement• Lighting can highlight• Set creates shape and levels• Add texture• Compliments other components• Can clarify narrative• Can show changes in time• Add to the theme of the dance• Add humour• Add variety through set and

lighting changes

Nutcracker!Matthew Bourne

Set/lighting helps create contrastLighting establishes moodSet creates varied levels/platformsThe set creates exits and entrances

Nutcracker!Examples

Set/lighting helps create contrast

Lighting establishes mood

Set creates varied levels/platforms

The set creates exits and entrances

- The contrast between the dark colours in set and lighting of the workhouse and colour of Sweetieland

- The brightness and soft colours used create a magical and fun feel to Act 2

- The wedding cake creates different levels for the dancers

- Dancers enter through doors in side flats, upstage window and mouth into Sweetieland

Swansong Christopher Bruce

Defines SpaceProvides a sense of placeAdds humourAdds to themeContributes movement material

Swansong Examples

Defines Space

Provides a sense of place

Add humour

Contributes movement material

- The shaft of light provides a narrow space in which the prisoner’s solos are performed

- The stark set of a single chair hints at isolation and the dark edges of stage give impression of confined space

- Use of hats and red nose add humour to the dance

- The chair as part of the set acts as key part of the choreography as do the canes in the cane dance section

How does the physical setting contribute to dance works?

Give examples from your 2 professional dance works.

(20 marks) 

What should be considered when choosing the physical

setting for dance works?

Give examples from you 2 professional dance works. Name each work and the

choreographer.

(20 marks)