Yr 9 dance GCSE: Objective: to work though the Shadows' booklet. You should have completed at least the costume, and lighting sections of this booklet in full by this Friday. Moving forward please ensure you complete the aural setting and the set design and props. These sections will require detailed notes. Remember that when discussing an object on stage, can you please take the dancer’s viewpoint e.g. the table in Shadows in USL not USR. Any issues please contact me on alexanderc@bishopperowne.co.uk

Further information and resources are attached below.

Students should check their school email for the video file Shadows

and let Miss Alexander know if they cannot open the file, or need it

sent to a different email address.

SHADOWS ____________

By Christopher Bruce CBE

SHADOWS: OVERVIEW Christopher Bruce’s works are often

‘politically aware’ – in reference to past or

current political events happening around the

world, exploring their effect on human life.

In Shadows, Bruce invites the audience into

the world of a small family, possibly set in

Eastern Europe, who are coming to terms with

the deprivation, poverty and the realities of

what lies outside their intimate home.

The piece, set to Arvo Part’s Fratres for piano

and violin, examines the relationships

between son, daughter, mother and father as

they seal with an unseen but ever-present

outside force.

SHADOWS: FACTFILE

Company: Phoenix Dance Theatre Choreographer: Christopher Bruce, CBE Duration: 12 mins Date of Premier: November 2014, Royal Opera House, London Dancers: 4 (2 men, 2 women) Composer/Music: Arvo Part - Fratres for violin and piano (1980 version) Costume: Christopher Bruce, CBE Set Design: Christopher Bruce, CBE Lighting: John B Read Stimulus: Avro Part’s Fratres for violin and piano Structure: Semi-narrative, including use of solo, duet, trio, quartet Themes: Family relationships, fear, frustration & support

BIOGRAPHY:

CHRISTOPHER BRUCE, CBE (1945)

CHOREOGRAPHER, SET DESIGNER

& COSTUME DESIGNER

One of Britain’s leading choreographers with an international

reputation, Christopher Bruce trained at the Ballet Rambert School

before joining company Ballet Rambert in 1963. He was acclaimed as

one of the most gifted performers of his generation and is recognised

as the last major choreographer to have been nurtured by Marie

Rambert. In addition to performing and choreographing, Bruce was

Associate Director of Ballet Rambert from 1975-1979, becoming

Associate Choreographer in 1980 and then Artistic Director between

1994-2002. Among his best-known works are Cruel Garden (1977),

Ghost Dances (1981), Swansong (1987) and Rooster (1991).

Christopher Bruce was awarded a CBE in 1998; other previous awards

include: International Theatre Institute Award for Excellence in

International Dance (1993), De Valois Award for Outstanding

Contribution to Dance (2003), and an Honorary Life Membership of

Amnesty International (2002) in recognition of his achievements in

the field of dance and human rights.

BIOGRAPHY:

JOHN B READ

LIGHTING DESIGNER

John B Read was consultant lighting designer to

the Royal Opera, the Royal Ballet and

Birmingham Royal Ballet from 1992 to 2005. He

is largely responsible for establishing lighting as

an integral part of dance presentation. He has

worked with major choreographers worldwide,

notably Sir Frederick Ashton, Sir Kenneth

MacMillan, Anthony Tudor, Glen Tetley, Jerome

Robbins, Rudolf Nureyev and Christopher Bruce.

Works for the Royal Ballet include Swan Lake,

Nutcracker, The Snow Queen, Anastasia and

Frankenstein.

He has also lit contemporary dance for Rambert

Dance Company, London Contemporary Dance

Theatre, and Scottish Ballet and the West End.

BIOGRAPHY

AVRO PART

COMPOSER

Arvo Pӓrt was born in 1935 in Estonia. He worked

from 1958 to 1967 as a sound engineer for

Estonian Radio. In 1980 he emigrated with his

family to Vienna and then, one year later, travelled

on a DAAD scholarship to Berlin.

Pӓrt’s work has passed through an evolutionary

process. His first creative period began in 1958

with neo-classical piano music. Then followed ten

years in which he made his own individual use of

the most important compositional techniques of

the avant-garde: dodecaphony, composition with

sound masses, collage technique. After an eight

year break from composition in which he studied

Gregorian Chant and classical vocal polyphony,

Pӓrt released Für Alina in 1976. The new

compositional principle used here for the first time,

which he called tintinnabuli (Latin for ‘little bells’),

has defined his work right up to today and can be

heard in his piece Fratres, the stimulus for

Shadows choreographed by Christopher Bruce.

SHADOWS: COSTUME • Christopher Bruce had clear vision of what was required

in the costume design to truly reflect the era in which he

had set the work.

• The costumes are clearly gendered, depicting the era of

Eastern Europe in the 1930s-1940s: simple shirts,

skirts, trousers and dresses as well as large overcoats

worn at the very end of the piece. Colours are muted,

worn-down, symbolising deprivation.

• Similar items to those worn in 1930s-40s were sourced

and tailored to fit the dancers e.g. floral dresses and

blouses with a centre feature; with additional

embroidery or ruffles on the front panel. The mother’s

dress was selected not only due to the era but it was

integral that it appeared softer and maternal in

appearance to assist the role portrayal. Contrastingly to

the daughter’s costume having ‘school like’ garments

(grey skirt and blouse) to directly correlate to her age.

• Towards the end of the work the dancers put on shoes

and coats, all of which match the era the piece is set in.

The coats for the son/daughter were particularly

oversized proving the reminder that the family are living

in hardship.

SHADOWS: LIGHTING John B Read uses a subtle approach to create an intimate space depicting the feeling of

‘a room’, as well as to indicate what is waiting for the family outside that they are so

reluctant to step into.

Within the piece there are twenty-three different lighting states many of which the

audience are unaware of. These subtle lighting changes assist in creating a dark and

fearful atmosphere, with the majority of the work being lit through use of side

lights. There are, on occasion, distinctive lighting states which enforce the emotional

distress displayed by the dancers in particular the son during his solo.

During the opening moments of the piece the dancers all look anxiously towards the

stage right, symbolising the uncertainty that awaits them. As their focus returns back

towards each other around the table, the lighting state clearly adjusts, almost as though

something/one outside has just passed in front of a door / window causing a shadow.

This invites the audience to believe that something is waiting for the family outside the

safety of the home.

The lighting design assists in shifting the audience’s attention. There is either a focus on

the family unit at the table, the rest of the stage is dimly lit (with the use of side lights)

which adjusts accordingly as solo and duets break away; or there are obvious lighting

cues ensuring the audience understand the level of fear that the family are living in.

These contrasting lighting states are used to enforce the emotional distress displayed by

the dancers particularly during the son’s solo, a corridor like affect is created as he

moves back and forth shifting the furniture across the stage.

Towards the end of the piece, the dancers move away from the table to dress into the

overcoats and shoes when the use of an overhead lamp is paramount as the dancers

make their way into the light as the piece is drawn to a close.

VIDEO LINKS!

SHADOWS: SET & PROPS Shadows usual a minimal set within a black-box theatre setting. The piece

includes a table, a bench, two stools, a coat stand and suitcases all of which a

worn looking; indicative of a family living in hardship.

Bruce uses the props throughout the work, the family begin the piece around

the table inviting the audience into the heart of the family home; the kitchen.

There are clear moments within the piece when the use of props is prominent

for example within the son’s solo. He uses the table to become a barrier and a

place to hide behind in order to feel safe.

Within the choreography the use of props is paramount to the piece,

enhancing the engagement of the audience and assisting in the narrative

element. The dancers move the props with fluidity, the handling of them is as

intrinsic to the piece as the physicality of the dancers.

To conclude the piece the family move away from the table, bench and stools.

Preparing to leave the family home they put on shoes and coats. The outer

garments for the son/daughter are clearly oversized, again reflecting that the

family are living in poverty. The characters also collect suitcases and bags,

informing the audience that they are about to embark on a journey /or are

prepared to be away from the family home for quite some time.

VIDEO LINK!

SHADOWS: MUSIC The music is in a minor key and is integral to the dark, solemn atmosphere of the piece. Bruce uses key components of the musical structure to correlate with the physical choreography. There is a clear relationship between the movement vocabulary and accompaniment in terms of speed and dynamics, often used to introduce each character and their emotional response to their environment. Example A – Daughter solo (0:30 – 1.34) Music and movement are both frantic. The daughter’s character is extremely anxious with fast steps to violin. Example B – Mother, Father, Daughter Trio (1:40 – 3:05) In complete contrast to the daughter’s solo the music for this trio is soft and slow, allowing Bruce to portray the family comforting each other. The softer tones are led by the piano with the violin shimmering in deep tremolo textures or in contrast with high pitched harmonics before returning to chords on the piano whilst the violin gently plucks at the strings.

Example C – Son Solo (6.22 – 7.39) This is the real climax within the musical score and this is reflected through the movement. The audience can tell the son is clearly distressed through is thumping fists and usage of the props. The music suddenly changes to chord like sounds, adding to the heightened emotion within this section.

SHADOWS: STRUCTURE • Intro + 8 sections

• Opening/ Intro

• Daughter’s solo

• Mother, father, daughter trio

• Father/ mother duet

• Mother solo

• Son solo

• Father/ son duet

• Quartet

• Final section

AQA Education (AQA) is a registered charity (number 1073334) and a company limited by guarantee registered in England and Wales (number 3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX.

Shadows GCSE Dance (8236) Anthology fact file

Choreographer

Christopher Bruce trained at the Ballet Rambert School, joining Ballet Rambert in 1963. He is the last major choreographer to have been nurtured by Marie Rambert. Bruce was Associate Director of Ballet Rambert from 1975-1979, Associate Choreographer in 1980, then Artistic Director from 1994-2002. His best-known works include Cruel Garden (1977), Ghost Dances (1981), Berlin Requiem (1982), Swansong (1987) and Rooster (1991). Christopher Bruce was awarded a CBE in 1998; other awards include: the Evening Standard Award, Prix Italia, International Theatre Institute Award for Excellence in International Dance, De Valois Award for Outstanding Contribution to Dance at Critic’s Circle National Dance Awards, and an Honorary Life Membership of Amnesty International in recognition of his achievements in the field of dance and human rights.

Company

From Leeds, Phoenix Dance Theatre is one of the UK’s leading contemporary dance companies. Founded in 1981 Phoenix Dance Theatre began by performing work created within the company. Under the direction of Sharon Watson, who was appointed Artistic Director in May 2009 , Phoenix has re-introduced diverse mixed programmes of work by both established and up and coming choreographers, including classic pieces from the company’s repertoire.

Date of first performance Premiered 26th November 2014.

Dance style Stemming from his own training, Christopher Bruce’s signature movement style is grounded in modern dance techniques with a combination of classical and contemporary dance language termed “neo-classical”.

Choreographic approach

Bruce does not prepare movement before entering the studio, preferring to wait and work with the dancers so that he can be influenced by them. For Bruce, as well as being appropriate to the piece, the movement must also sit well on the dancers. He started Shadows with the idea of a family unit sitting around the hearth or around a dinner table and knew that the furniture would become an intrinsic part of the choreography as opposed to being a static set. The “anxiety of the music” greatly influenced the movement content, with the form of the piece allowing each member of the family to have a voice and tell their story.

Stimulus

Arvo Part’s Fratres for violin and piano was the starting point for the work. For Bruce, the music “evokes images of a European history and tradition steeped in over a thousand years of suffering and human experience.” In Shadows, Bruce translates this vision into an exploration of a family dynamic, examining the relationships between each member (son, daughter, mother and father) as they deal with an unseen but ever-present outside force.

AQA Education (AQA) is a registered charity (number 1073334) and a company limited by guarantee registered in England and Wales (number 3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX.

2 of 2 V2

Choreographic intention

Christopher Bruce’s works are often ‘politically aware’, in reference to past or current political events happening across the world, exploring their effect on human life. In this piece, Bruce invites the audience into the world of a small family, possibly set in Eastern Europe (though this is left up to individual interpretation) coming to terms with deprivation, poverty, and the realities of what lies outside their intimate family home. Bruce describes this piece as “a darker work, with a sort-of narrative”, allowing the audience to apply their own context to the material danced on stage.

Dancers 4 dancers (2 male / 2 female). Duration 12 minutes.

Structure Semi-narrative. Solo, duet, trio, quartet.

Aural setting

The accompaniment is Arvo Part’s Fratres (composed in 1977), the version for violin and piano pre-recorded for use in performance. The music has no break in tempo, following Part’s signature style of composition – using broken chords and diatonic scales. The music is in a minor key and is integral to the dark, solemn atmosphere of the piece. There is a clear correlation between the movement vocabulary and accompaniment in terms of speed and dynamics, often used to introduce each character and their emotional response to their environment.

Costume

Designed by Christopher Bruce. The costumes are clearly gendered, depicting the era of the 1930s -1940s: simple shirts, skirts, trousers and dresses as well as large overcoats worn at the very end of the piece. Colours are muted and worn down - again symbolising deprivation and poverty. There are no costume changes in the piece. Towards the end of the piece the dancers/family prepare to leave the house by putting on shoes and coats. It is clear that these jackets are oversized for the son/daughter, again referencing to the fact that the family are living in poverty.

Lighting

The lighting was designed by John B Read, who uses the lighting to create an intimate space on stage depicting the feeling of ‘a room’, as well as to indicate what is waiting for the family outside that they are so reluctant to step into.

Performance environment End stage.

Staging/set

Designed by Christopher Bruce. Shadows uses a minimal set within a black-box (a simple set with bare walls and floor) theatre space. The piece includes a table, a bench, two stools, a coat stand and suitcases – all worn-looking, and somewhat drab: confirming the notion of hardship within the family. The space created allows the audience to enter the heart of the home, the kitchen. This is where the narrative of the choreography and the relationships between the family members unfolds.

GCSE DANCE ANTHOLOGY

Shadows Christopher Bruce

Phoenix Dance Theatre

Title Shadows

Choreographer Christopher Bruce

Company Phoenix Dance Theatre

Premiere Date 26th November 2014

Premiere Venue

Dancers 4 (2m, 2f)

Duration 12 mins

Structure Semi-narrative Solo, duet, trio, quart.

Dance Style Modern – combination of classical and contemporary - ‘neo-classical’

Choreographic Approach

Collaborative narrative.

Choreographic Intention

Political awareness. Deprivation, poverty, reality outside the home. ‘A darker work

with a sort-of narrative’.

Stimulus Arvo Parts ‘Fratres’ for violin and piano.

AURAL SETTING

Aural Composer

Arvo Part’s

Aural Setting Fratres version for violin and piano. No break in

tempo, broken chords, diatonic scales, minor key.

Describe specific examples – consider:

o Instruments o Style o Volume (crescendo/diminuendo/silence) o Speed o Music/dance relationships o Natural sounds / sound effects?

Evaluate specific examples – consider:

Historical, social, cultural, age, gender, context,

naturalistic, time of day, enhances narrative,

theme, highlights character, highlights dancers,

structure, creates climax, mood/atmosphere,

complements other components, symbolic,

humour, stimulus/starting point.

COSTUME

Costume Designer

Christopher Bruce

Costume

Clearly gendered, era of the 1930s -1940s: simple shirts, skirts, trousers and dresses as well as large

overcoats worn at the very end of the piece. Colours are muted and worn down. Towards the end of the

piece they put on shoes and coats.

Describe specific examples

– consider:

o Colour o Shape o Texture o Style o Size o Material

Evaluate specific examples – consider:

Historical/era, social, geographical, cultural,

age, gender, context, naturalistic, time of day,

enhances narrative, theme/idea, highlights

character, highlights dancers, identifies group,

structure, creates climax, mood/atmosphere,

complements other components, symbolic,

humour, stimulus/starting point, sculpts body,

enhances flow.

LIGHTING Lighting Designer John B Read

Lighting Creates an intimate space on stage / a room.

Describe and evaluate each example.

Describe: Colour, Direction, Shape, Effect, Natural, Intensity, Shadows.

Evaluate: Historical/era, social, cultural, gender, context, naturalistic, time of day,

season/climate, enhances narrative, theme/idea, highlights dancers, identifies group,

structure, highlights action, creates climax, mood/atmosphere, complements other

components, symbolic, humour, stimulus/starting point, creates space.

1

2

3

SET, STAGING, ENVIRONMENT Performance Environment

End Stage

Set Designer Christopher Bruce

Staging / Set A minimal set within a black-box. Includes a table, a bench, two stools, a coat stand and

suitcases.

Describe specific examples

– consider:

o Type o Location o Colour o Shape o Backdrop/cyclorama o Empty/full – Props. o

Evaluate specific examples – consider:

Historical/era, social, geographical, cultural,

age, gender, context, naturalistic, time of day,

enhances narrative, theme/idea, highlights

character, highlights dancers, structure,

creates climax, mood/atmosphere,

complements other components, symbolic,

humour, stimulus/starting point,

entrance/exits, enhances flow, used by

dancers, creates levels, empty creates focus.

MOTIF

Describe a motif

What is the significance of this motif?

How is this motif developed?