The Language of Performing Arts.

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The Language of Performing Arts.

        In our first term of performing arts, our aim was to create four separate performances in dance, drama and music and one that integrated all three art forms.  To do this we firstly looked at different skills needed in each art form and experimented with these by doing different practical exercises.  This helped us to build up the knowledge we needed to use improvisation, rehearsal and performance processes to devise our performances.  

Dance commentary

        I began to devise my dance by choosing a stimulus (see picture below).  I brainstormed words, which I imagined would associate with it.  I eventually chose the words good and evil.  The words complemented each other and gave most potential for creating contrasting movement.  I therefore decided to do a thematic piece, about a person in limbo between the two concepts.

I started to develop the dance by creating a motif that represented good.  This contained smooth flowing movements with triplets and turns.  Then I created a motif that showed evil to contrast this; it contained more harsh striking actions, such as lunges and leaps.  I created an alternative motif, to use as a bridge between good and evil, which contained spiralling movements.  These spiralling movements were to show the confusion in the mind of the performer.  Whilst rehearsing I developed my motifs further by looking at my use of space.  I decided to use one corner of the room to represent good and the other evil.  This was achieved by changing the floor pattern and by giving more emphasis using my gestures or eye focus towards the corners of the room.

I fitted the motifs together using a rondo form as follows:

Bridging motif, good motif, bridging motif, evil motif, bridging motif.

My final bridging motif ended in a position to create tension.

The music I used contrasted the work I had set however by slightly adjusting the dynamics of my dance the music and dance complimented each other.  I did feel that the accents were an important part of the music so I slightly adjusted the dynamics of my dance so that the accents of the music and the dance complemented each other.

        Whilst rehearsing I found being a solo performer had its advantages and its disadvantages.  The thing I felt was most difficult was only having my own input and not having an outside eye to say what looked effective or not.  Another disadvantage is that when only having one dancer on stage the performance can be enhanced by developing relationships between dancers. Through using choreographic devices such as unison and cannon, which often make the dance more effective.

        The advantages of working as a solo performer were, I found it a lot easier to get my work done quicker as there were no lengthy discussions about decisions which needed to be made.  I was able to effectively organise my rehearsal time because as there was only me to rehearse.  I practised as much as possible, as I became aware that through rehearsal I was more confident with the performing my movements with clarity and precision.

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        I believe that it is not just the actual dance that makes a performance, the main part of a performance is how the dancer presents his or her self and how they put emotion across to the audience, as does Alvin Ailey in the dance maker as this quote shows

 ‘You can do the steps with muscle memory, but once you get up on the stage, its not all about steps at all.  You really have to reason why you’re doing it.  You cant just go through the emotions it involves the whole self.’

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