GCSE Performing Arts: Dance Examination 19 th May 2010 Revision Time!

You need to… Be Organised! Be Prepared! Be Willing! Complete all given tasks and submit them on the given deadline!

Section A STUDIO PRACTICE

Warm Up Mobilise Joints Raise CV Level / Heart Rate Oxygen to Muscles Improve Elasticity of Muscles Psychological / Mental Preparation Prevention of Injury

Warm Up Exercises 1 Shoulder Rotation, Arm Circles and Spine Rolls 2Swings / Jumps 3Stretching – Groin Stretch, Calf Stretch, Hamstring Stretch

Cool Down Return CV Level to Normal Stretch – Squeeze out lactic acid – Prevent muscle soreness Psychological wind down

Cool Down Exercises 1Slow Plies / Slow Walk Around Space 2Stretching – Groin Stretch, Calf Stretch, Hamstring Stretch 3Relaxation Exercises / Imagery

Diet and Nutrition Carbohydrate Protein Fat Fibre Vitamins Minerals Water Pasta, Rice, Potato Chicken, Eggs Steak, Oil Brown Rice, Bran Fresh Fruit and Veg

Effects of a Balanced Diet Energy Equation Energy In = Energy Out A dancer will therefore have enough energy to perform movement. This will help to improve performance and prevent injury.

Healthy Lifestyle Don’t Drink Don’t Smoke Don’t take Drugs Eat a Healthy Balanced Diet Exercise Regularly Drink Water to stay hydrated Sleep to avoid fatigue

Safe Practice Correct warm-up / cool-down Appropriate clothing / footwear / hair Remove jewellery No eating / hydrated / know when to eat Listen to and follow instructions / technical awareness / work within limitations Check the space is safe, clear of obstructions / correct temperature

Treating Injury P R I C E R - Protection - Rest - Ice - Compression - Elevation - Recuperation

Components of Movement Actions Jump (Elevation) Turn Gesture Stillness Travel Transfer of Weight Dynamics Time (Quick / Slow) Weight (Firm / Fine) Space ( Direct / Indirect) Flow (Free / Bound) Pause, Suspension, Accent Space Levels Direction Distance Pathways Positioning Planes Relationships Movement – Contrast - Complementary Time – Unison / Canon - + in opposition Space – Over / Under - Around / Through - In front / Behind / Next to

Motif Development Action Add Action Take Action Repeat Action Fragmentation (Change Order) Retrograde (Reverse Order) Perform action on other side Perform action with different body part Dynamic Change dynamic (Opposite) Add - Pause - Accent - Suspension Vary quality and timing

Motif Development Space Change Level Change Direction / Facing Change Distance Change Pathway Change Positioning / Group Formation Relationship Change Relationships: - Movement - Time - Space Add Contact / Separate Dancers

Performance Skills Technical/Physical Posture Alignment The flow of energy Co-ordination Balance Strength Flexibility Control Mobility Expressive Focus Projection Sense of Style Musicality Communication of Choreographic Intention Facial/Body Expression

Choreographic Devices Motif, variation and development Phrasing Chance Addition Repetition Visual and rhythmic design Complementary or contrast Unison Canon Climax The use of these in relation to the artistic intention or Dance Idea

Rehearsal Process Evaluating throughout process - revising and refining movement material Rehearsal of technical and expressive skills Systematic repetition (i.e. form, refine/evaluate, perform again) Mental Rehearsal Analysis of strengths and weaknesses, e.g. through use of video, viewing peers, or tutors Presentation to an audience. All elements of rehearsal process should provide feedback of some kind in order to inform the process.

Physical Setting Points Remember the Magic List!

Physical Setting Points Describe Set, Lighting & Props Colour Shape Size & Location Style - cyc/structure Texture Mood It’s really important to DESCRIBE the set, lighting and props in each example that you discuss Other Considerations Cost Durability Ease of dancing Health and Safety Size of Space

Physical Setting Points – Magic List Physical Setting Contributions Support the dance style Provide a context Provide a sense of reality Create interest Can replace dancer - support Time of day / Season Establishes mood Props help identify character Can provide a climax Setting the dance in an era Can provide exits and entrances Geographical location Always Remember to Include Examples Creates social context Light/set can structure dance Props can inspire movement Lighting can highlight Set creates shape and levels Add texture Compliments other components Can clarify narrative Can show changes in time Add to the theme of the dance Add humour Add variety through set and lighting changes

Nutcracker! Matthew Bourne Set/lighting helps create contrast Lighting establishes mood Set creates varied levels/platforms The set creates exits and entrances

Nutcracker! Examples Set/lighting helps create contrast Lighting establishes mood Set creates varied levels/platforms The set creates exits and entrances - The contrast between the dark colours in set and lighting of the workhouse and colour of Sweetieland - The brightness and soft colours used create a magical and fun feel to Act 2 -The wedding cake creates different levels for the dancers -Dancers enter through doors in side flats, upstage window and mouth into Sweetieland

Swansong Christopher Bruce Defines Space Provides a sense of place Adds humour Adds to theme Contributes movement material

Swansong Examples Defines Space Provides a sense of place Add humour Contributes movement material - The shaft of light provides a narrow space in which the prisoner’s solos are performed - The stark set of a single chair hints at isolation and the dark edges of stage give impression of confined space - Use of hats and red nose add humour to the dance - The chair as part of the set acts as key part of the choreography as do the canes in the cane dance section

How does the physical setting contribute to dance works? Give examples from your 2 professional dance works. (20 marks)

What should be considered when choosing the physical setting for dance works? Give examples from you 2 professional dance works. Name each work and the choreographer. (20 marks)