Unit 4 – Resource Pack

Course Guide - Assessment for Unit 4 Outcome 1 – Analyse a selected group dance work – Title: Sweet Charity Choreographer: Bob Fosse Section of work to be studied: ‘The Rich Man’s Frug’ (‘The Aloof’, ‘The Heavyweight’ and ‘The Big Finish’) Publication: Sweet Charity, film, Bob Fosse (dir.), Universal Pictures, USA, 1968 Outcome 2 – Composition: choreograph, rehearse and perform a solo dance work and analyse the processes and practices used. End of year performance examination: 50% of grade  End of year written examination: 25% of grade

Terminology for revision: Expressive Intention – the idea or story Cultural Influences – (background, era, dance training) Form - (narrative (ABC), Binary (AB), ternary (ABA), episodic etc.) Unified composition - (sections (beginning, development and resolution ABC), phrases and motif) Body Actions – (GLEFTS) Physical Skills – (BFACTS) Technical Skills – (Safe dance) Personal movement vocabulary Elements of Movement – Time, Space and Energy (Qualities of Movement & Laban effort actions) Group Structures – (Symmetry, asymmetry, unison, canon, contrast) Spatial Organisation – (direction, level, eye/body focus, dimension) Spatial Arrangement – how you set up / refine movement in terms of phrases / sequences / sections Spatial Orientation – (awareness of you and others in space) Choreographic Devices – (RAASSA DIET) Technical and Production Aspects – Lighting, Sound, Costumes, Projection etc. Dance Design – E.I, M.V & Form Choreographic Principles - (unified composition, spatial organistion, group structures, EOM, E.I) Movement Creation process - (ISARE) Dance making-process – (ISARE, rehearsal, pre-performance, performance) Learnt work processes – (learning , rehearsal, pre-performance, performance) (learning processes = imitation, memorization, repetition Choreographic Processes = Brainstorming ideas, creating shapes with the body, using the mirror, using EOM, BA, PS (rehearsing processes = movement memory, refine technique, refine EOM, seek feedback etc. (Pre-performance processes = warm-up /down, mental prep, visualisation, walk through space etc.) (Performance processes = (projection, dynamics, posture, strength etc.)

Composition Solo assessment Criteria 1: Skill in the varied use of level 2: Skill in the varied use of direction 3: Skill in the varied use of eye/body focus 4: Skill in the varied use of dimension 5: Skill in the selection of expressive movement vocabulary 6: Skill in the expressive arrangement of movement vocabulary 7: Skill in the expressive arrangement of choreographic devices 8: Skill in the use of performance processes, practices and artistry to communicate the expressive intention to the audience

Composition solo – Mind Map

Composition solo – E.I General expressive Intention:

Composition Solo - Form What is the form of your solo? (Binary, ternary, episodic etc.) What is the E.I for each section?

Composition solo – M.V – first section Type of Movement: Level Time   Dimension Energy Direction Space Focus Choreographic Devices

Composition solo – M.V – first section Body Actions Physical Skills

Composition solo – M.V – first section Floor pathway used:

Composition solo – M.V – second section Type of Movement: Level Time   Dimension Energy Direction Space Focus Choreographic Devices

Composition solo – M.V – second section Body Actions Physical Skills

Composition solo – M.V – second section Floor pathway used:

Composition solo – M.V – third section Type of Movement: Level Time   Dimension Energy Direction Space Focus Choreographic Devices

Composition solo – M.V – third section Body Actions Physical Skills

Composition solo – M.V – third section Floor pathway used:

Composition solo – Dance design Describe with examples the dance design of your solo: (E.I, M.V & Form)

Dance making process – Choreographing processes Movement creation process: Improvisation: Selection: Arrangement: Refinement: Evaluation:

Dance making process – Choreographing processes Other Choreographic processes: Brainstorming of ideas – Trying out different music – Using the mirror to create shapes – Experimenting with EOM – Experimenting with BA & PS – Selection of an EI – Using the Choreographic Devices – Using formal structures -

Dance making process – Rehearsing processes Practice / develop movement memory: Feedback: Refine (spatial accuracy, SAFE Dance, floor pathways, EOM): Video: Progress showing

Dance making process – pre-performance process Warming up: Nutrition: Marking out the space: Mental preparation: Visualisation:

Dance making process – performance processes Projection: Focus: Musicality: Safe dance / technical skills: Energy / dynamics:

Composition solo – technical skills After speaking to your teaching and reviewing your solo, what technical skills and/or performance skills do you need to refine before your exam?

Composition solo: practice questions: 1:When choreographing your Unit 4 solo (compostion solo) you used the five movement creation processes. Identify and discuss how you used two of these movement creation processes. 2: Pick a phrase from your solo. Desribe the phrase in detail. Discuss how you used two Body Actions in that phrase. Discuss how you used two Physical Skills in that phrase. 3: List three physical skills. For each one of these three skills outline one way that it can be safely developed by a dancer. 4: Define one element of spatial organisation. Briefly describe two contrasting examples from your Unit 4 composition solo which show manipulation of this element. 5: When choreographing your Unit 4 solo (Composition solo) you used the structure of a unified composition. a. List the parts that form the structure of a unified composition. b. Briefly explain how the expressive intention in your Unit 4 solo created a unified composition. 6: Describe how you manipulated the Element of movement Space in regards to the form of your compositional solo. Discuss with regards to 3 different examples of that EOM.

The Richman’s Frug

Prescribed Work – The Richman’s Frug General Expressive Intention: The expressive intention of Bob Fosse’s “The Richman’s Fug” is predominantly a 60’s Jazz dance piece that is broken down into three distinct sections; The Aloof, The Heavyweight and the Big finish. The Aloof explores the social etiquette in high Society through notions of gender roles. The Heavyweight identifies the battle between the sexes as symbolic of a ‘boxing match’ and finally the Big finish allows The upper class to let their hair down, shake off the social etiquette limitations.

Form: Narrative ABC The Aloof The heavyweight The big finish

Prescribed Work – The Richman’s Frug Form & Expressive Intention for each section: Narrative ABC A - The Aloof explores the social etiquette in high society through notions of gender roles. B - The Heavyweight identifies the battle between the sexes as symbolic of a ‘boxing match’ C - Big finish allows the upper class to let their hair down, shake off the social etiquette limitations and express themselves.

Prescribed Work – The Richman’s Frug Cultural Influence Background of the era: Fosse’s life: Fosse’s dance training:

BODY ACTIONS:

Body Actions - Gesture Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Two men right hand on back hip, leaning chest forward with a straight spine, left hand is held to the roof with a bent elbow with fingers holding a ‘cigarette’ Link to expressive intention: Aloof – the social norms and behavior of the upper class, looking down on those below them.

Body Actions - Locomotion Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Body Actions - Elevation Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Body Actions - Falling Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Body Actions - Turning Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Body Actions - Stillness Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Physical Skills

Physical Skills - Balance Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Physical Skills - Flexibility Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Physical skills - Alignment Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Physical Skills – Coordination / control Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Physical Skills – Transference of weight Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Physical Skills - Stamina Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Elements of Movement

Element of Movement – Time (Accent) Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Hands clasped above the head, knees bent, pump hands on the accent (bell sound) Link to expressive intention: Heavyweight – the bell sound (accent) signifies the beginning of the battle or boxing match between the genders

Element of Movement - Time Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Element of Movement – Space (Direction) Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: In small groups the performers mover diagonally across the space, leaning back in the torso, arms by their sides, heads focused forwards in the direction they are travelling. Link to expressive intention: Aloof – this portrays the aloof type atmosphere as they fail to acknowledge each other, move past without looking.

Element of Movement - Space Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Element of Movement – Energy (force and flow) Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Soloist dancer, moves to the front of the stage with little footsteps, swinging her arms/wrists behind her back in a flowing manner. Link to expressive intention: Aloof – the dancer maintains her social status, by moving exactly the same as everyone else, just presenting small detailed feminine movements.

Element of Movement - Energy Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Qualities of Movement Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Quality of Movement Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Laban Effort Actions Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Laban Effort Action Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Spatial Organisation

Spatial Organisation: Direction Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Spatial Organisation: Level Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Spatial Organisation: Focus Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Spatial Organisation: Dimension Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Group Structures

Group Structures: Canon Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Group Structures: Unison Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Group Structures: Contrast Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Group Structure: Symmetry Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Group Structures: Asymmetry Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Choreographic Devices

Choreographic Devices Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Choreographic Devices Section A = The Aloof Section B = The heavyweight Section C = The big finish Example of movement: Link to expressive intention:

Dance Design

Dance Design Section A = The Aloof Section B = The heavyweight Section C = The big finish Expressive Intention: Movement Vocabulary: How they link:

Production Aspects

Production Aspects Section A = The Aloof Section B = The heavyweight Section C = The big finish Lighting: Sound: Costumes:

Prescribed work – practice questions 1: Describe the Expressive intention of ‘The rich man’s frug’ in terms of the formal structure of the piece. 2: Discuss how one cultural influence has impacted the movement vocabulary and the expressive intention of ‘The rich man’s frug’. 3: Pick one Body Action and discuss how it has been manipulated to explore the expressive intention of the piece for each section. 4: Describe the Dance design of ‘The rich man’s frug’. 5: Describe the manipulation of Group structures to explore the expressive intention of the piece. 6: Discuss how one cultural influence has impacted on one production aspect in ‘The rich man’s frug’.