'The seven deadly sins' was the stimulus for the integrated piece. This immediately gave each group member lots of ideas about the possible ways in which we could incorporate dance music and drama in this piece.
'The seven deadly sins' was the stimulus for the integrated piece. This immediately gave each group member lots of ideas about the possible ways in which we could incorporate dance music and drama in this piece.
Initially the group experienced difficulties in finding one idea to stick to. This was due to the fact that everyone had so many ideas about this topic it was impossible to incorporate everything and still keep a sense of direction within the piece. It was then decided that there being ten people in the group, seven were chosen to portray sins, and three members were chosen to be affected. This worked really well, and the improvisation process began with a vast amount of ideas. After discussing what the group had to accomplish, we set about thinking of dance motifs, drama sketches, and composing our own musical score. Each sin had its own musical theme. for example, anger was a violent run of minor scales in the key of C minor, a psychologically 'angry' chord. Sloth however was a very slow whole tone scale, giving a very dream like sound.
Alison Oddy sates that to devise is to plan and develop through thought and action. Working collaboratively is essential if devising is to be successful. There was lots of use of dynamics in the music and in the drama and dance. Quiet pieces of music set the atmosphere while dance motifs complemented the way the sins were woven into every day life. The drama brought out what the dance and music could not show with words.
Initially the group experienced difficulties in finding one idea to stick to. This was due to the fact that everyone had so many ideas about this topic it was impossible to incorporate everything and still keep a sense of direction within the piece. It was then decided that there being ten people in the group, seven were chosen to portray sins, and three members were chosen to be affected. This worked really well, and the improvisation process began with a vast amount of ideas. After discussing what the group had to accomplish, we set about thinking of dance motifs, drama sketches, and composing our own musical score. Each sin had its own musical theme. for example, anger was a violent run of minor scales in the key of C minor, a psychologically 'angry' chord. Sloth however was a very slow whole tone scale, giving a very dream like sound.
Alison Oddy sates that to devise is to plan and develop through thought and action. Working collaboratively is essential if devising is to be successful. There was lots of use of dynamics in the music and in the drama and dance. Quiet pieces of music set the atmosphere while dance motifs complemented the way the sins were woven into every day life. The drama brought out what the dance and music could not show with words.