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Generating movement for 2 or 3 dancers

Concept/intent

Work sample 1
The work
Concept/intent
Conception
Generation of movement based on the concept/intent
Manipulation of the elements
Activity: Relationships
Activity: Use of the elements
Sample viva voce questions

The work: Irritation
The sample video footage is from the work, Irritation, choreographed by Melissa Brady, performed by Shelley Gannon (Year 10 student: red unitard, the victim) and Bianca Neil (Year 9 student: black unitard, the irritator)

Concept/intent
Have you ever been irritated by a simple itch or someone’s behaviour to a point of abject despair? How would you react?

Relationships between two or three dancers are paramount in the communication of the choreographic intent.

Irritation is a work for two dancers. This allowed the choreographer to focus on one dancer as the irritator, initiating action and infliction on the second dancer, the victim, who responds in defence.

The effective communication of the intent demands dual interaction between the two dancers. Their relationship is established by their placement within the performance space, the use of complementary and contrasting movements, and organising the movement so that no dancer is made less important in communicating the choreographic intent.

Conception
Improvisation was a key factor in discovering the dancers’ capabilities and limitations while developing relationships. A variety of lifts, rolls, turns, throws and movement primarily dealing with action and reaction were videotaped and used as stimulus for the work.

Generation of movement based on the concept/intent
The sequence commences with a thrust of the legs from the victim throwing the irritator into the air. The victim tries to shake off the irritator but to no avail. The irritator regains her composure and confronts the victim eye to eye. Threatened, the victim turns away. The irritator is calm and constant, waiting patiently for the next attack. The victim cunningly approaches her enemy and takes revenge.

Manipulation of the elements
Use of space
Angular strong shapes are predominant in the work. The repetition of lines through the use of complementary shapes reinforces the ideas of tension and conflict. Linear floor patterns give a sense of direction, imply intensity and allow for direct exchange of action between the dancers.
Levels of movement create visual interest and clarify the relationship of the dancers. The victim transforms into the aggressor as she moves on a dominating higher level than her enemy who struggles on a submissive low level.

Planes of action and direction are carefully selected for aesthetic appeal, maximising the visibility of the movement. Lateral swinging action is performed facing the audience followed by a sagittal pulling action (front to back of the body) that is performed facing stage left. The shapes and images which the dancers create in the space are in clear view to the audience.

The performance space is manipulated to highlight action and communicate intent. The irritator is placed downstage in close proximity to the audience for the preceding action. The victim, seeking revenge, works her way cunningly from upstage to downstage on a direct diagonal pathway. She forces her weight aggressively into the irritator’s personal space.

Design plays an important role in maintaining the relationship of the dancers and communicating intent. Symmetry is deliberately avoided and instead the dancers create a sense of imbalance and tension, reinforcing the idea of conflict by employing asymmetrical shapes.

Use of time

The contrast between the driving bass 4/4 beat of the musical accompaniment and the higher-pitched free-sounding melody, reinforces intensity and tension in the relationship of the dancers.

The irritator moves with precise body articulations, percussive jumps and constant changes in direction. Her timing is regular establishing her as a persistent threatening presence within the space. In contrast, the victim’s movements are unpredictable.

The movements include contrasts of short and long duration: a quick thrust of the legs in the air to the slow, drawn-out crawling actions as the victim approaches her enemy. The victim’s movements do not occur regularly to the beat of the music; instead actions are syncopated and often free of strict time.

Accents are used to emphasise meaning in the movement. As the dancers slap the floor in unison their focus is direct and intense. This accented beat reinforces the idea of conflict.

Use of dynamics
In the sequence, both dancers move with force. However, each dancer performs with distinguishing ways of releasing energy that differentiate the two dancers in the performance space.

The irritator performs percussive actions of slaps, jumps and sharp body isolations. The sharp, short release of energy at the commencement of the sequence suggests aggression and dominance. The strength and tension in the irritator’s movements gradually decrease. Her final movements revisit a sharp slap on the floor followed by a contrasting, sustained dragging action, implying defeat.

The victim’s movements gradually increase in tension, moving through a variety of dynamic qualities. The release of energy moves from shaking and collapsing to a combination of powerful swinging, pulling and percussive actions.

Dynamics can achieve unity in the work. The use of contrast and repetition in the releasing of energy brings meaning to the movement and communicates choreographic intent. Focus questions
Review the work sample and your own work and complete the following:

Activity: Relationships

What role does each dancer play in the communication of the intent?
How many dancers are best suited for your concept/intent? What role will each dancer play in communicating the concept/intent?
How have levels been employed to establish relationships in the work?
Have you incorporated a variety of levels in the work? What meaning is implied through the use of levels?
What significance does the positioning of the dancers in the performance space have to the intent of the work? What is the spatial relationship of the dancers in the opening sequence of your work? How does this spatial relationship support your concept/intent?
How has focus been manipulated to establish and maintain relationships in the work?
At what points will your dancers focus on each other? When will they work apart? Is there another focus for the work, such as a prop?

Checklist

Decide on the number of dancers best suited to achieve your concept/intent.
Get to know your dancers’ personal styles, personalities, limitations and capabilities.
Decide on how you will use each dancer separately and collectively to achieve your concept/intent.
Explain your concept/intent to the dancers and allow them to improvise on the ideas behind the work.
Play with spatial relationships. Take different actions, such as throwing, turning, running, and have the dancers perform them in various parts of the performance space.

Activity: Use of the elements

Is there a particular shape to the movement? Is this shape maintained throughout the work?
What shapes will dominate your work? What meaning do the shapes suggest? Where can you incorporate complementary and contrasting shapes?
How have floor patterns been used to communicate the intent of the work?
What floor patterns are best suited for your concept/intent? Who will be performing the floor patterns and why? Will the floor patterns be repeated throughout the work?
Can you find examples of symmetry and asymmetry in the work? What meaning does this bring to the movement?
Will your work be primarily symmetrical or asymmetrical in design? What other design elements do you need to consider in the creation of your work?
Can you find examples of unison, canon or repetition? What meaning does this bring to the movement?
How is the use of unison and canon supporting your choreographic intent? Have you used repetition to establish your ideas? Have you varied the repetition so that the work remains interesting?
Has each dancer a distinguishing way of releasing energy?
Will the movements in your work be predominantly forceful or light in effort? Will each dancer perform with a distinguishing dynamic quality?

Checklist

Play with a variety of images and motif ideas with the dancers. Change the levels, direction, planes of action, dimension, floor patterns and shapes.
Manipulate the timing of the movements. Have one dancer work in free time with the others moving to a regular beat. Accelerate and decelerate movements. Incorporate stillness to highlight an idea or add tension to the work.
Explore the use of weight and force with the dancers. Allow the dancers to play with a variety of dynamic qualities such as swinging, shaking and collapsing. Decide on qualities that support your choreographic intention.

Sample viva voce questions

Explain and demonstrate how you manipulated the element of space to achieve your concept/intent.

Select a sequence from the work. Explain and demonstrate how you manipulated the element of time to achieve your concept/intent.

Choreography involves selecting and refining movement ideas. Discuss the selection and refinement process used in the creation of your work. Support your discussion with appropriate demonstration.

Explain and demonstrate how you achieved variety and contrast in the work.

Demonstrate and discuss the role which appraisal and evaluation played in the development of your work.

Discuss three key factors that you took into account when choreographing the work for two or three dancers. Where appropriate, support your discussion with demonstration.

Select one of the following additional considerations in the creation of the work:

number of dancers
simple costumes and props
choice of accompaniment.

Explain and demonstrate how you used this additional consideration to achieve your concept/intent.

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