Prince and the PagODAS Analysis of movement.

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Presentation transcript:

Prince and the PagODAS Analysis of movement

Scene 3 Arrival of the kings Action Space 1.Walking (carrying gifts) Entering from Upstage Centre 2. Bowing- just with upper body Upstage Left hand corner (house right) 3. Bowing- down onto knees, head almost touching floor 4. Solo by King of the East- Looking into the mirror with other hand out straight in front. Shaking hand and bringing it back towards shoulder. Swapping that mirror with his slave for another he looks into that and gestures vainly. Swaps again and pirouettes holding the mirror. Then grande battement en cloche, pirouette and arabesque, looking into the mirror on the arabeque (x2). Frappes fouetté with R leg, flexed foot and ending with heel out looking again into the mirror (held outstretched down by flexed foot). Little runs with bent knees, one hand holding mirror and one arm outstretched with thumb and middle finger pressed together (various repeats of this throughout). Pirouette turning inwards with flexed foot (various repeats of this throughout). Floorwork taking one hand over in a backbend to lie flat on the floor on back, feet on the walk, still holding mirror, turn to face side with one leg extended in front and stand up (x2). Pathway starting at USC, travelling towards CS, then after frappes fouetté, travelling around in a circular pathway to SL and back to USC. 6. Rose’s Par de Deux with her Prince 7. Princess Epine seducing kings

Scene 3 Arrival of the kings Dynamics Relationships 1.2.3. Steady, proud 1. 2. In pairs 3. on own 4. Slow, flowing, vain, proud. 4. Solo