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 Norman Morrice
AD of Rambert 1970-1974
·
1962
is Morrice travelled on aFord Foundation Grant in order to see

developments in dance and with

new
study major choreographer
Martha Graham.
Ballet Rambertcould
longer afford the
expence of
is no

touring large productions and a

change
wa s needed for
to
them survive.
↳ Marie Rambert Morrice
s ent study
to Graham.

·
1966- The Resurrection
Following Morrices return, he encouraged Marie to return
to the company's original ethos.

Company changed
↳ from medium-scaled
touring company
smaller
a
t o
ensemble, creating new works and

of
preserving the
best
pieces work.
Morrice
is
appointed Associate Artistic Director of
the
new

Company which comprised of

98 dancers.
↳i Dancers trained in both
contemporary (Graham) and

ballet dance techniques.Dancers we re equal in status

Therefore held the
no one
positions of principal dancers
soloists in their
or own
right.

⑳
1966- The Three Main Goals
In May 1966, Marie, Morriece and administrator Frederick
Bromwick drew up for reconstruction of
proposals t he company.

Enco the productions of

new works by both new and
1.

urage
established
choreographers.
4 Audiences wanted to see new works.

2. To preserve, as far as
possible, the master-works
which

↳ To
constitute Ballet Rambert's artistic
heritage.
keep the remind them of where it
original history and

with features.
all started, all
original stylistic
3. To London in
give regular seasons in and tour selected dates

provinces and abroad.

the

Allowed them audience, while

larger giving
↳ to cater to a

create
themselves time to new
pieces and establish
themselves in their home city.
⑳
Morrice's Contributions
American
↳
Brought in several
choreographers to

make works on
company.
the

Big
↳
example:den Tetley, whose ow n
background
included both classical dance his works
and
contemporary
-

popular Rambert Season:

were so that held the Tetley
Morrice mounted Pierof Lunaire and Ricercare
(originally
↳

created for American Ballet Theatre in 1966).

Introduced
↳
regular choreographic workshops.
Gave dancers show their
choreographic
↳ achance to to

obility. Christopher Bruce began emerge as a to

tolanted
choreographer.
his four
↳
Brougatthe Graham technique following year
stay in the US.
 John Chesworth
AD of Rambert 1974 - 1980
John Chesworth
continued with
the
policies introduced byNorman
Morrice, from
promoting
new work members and
company
repertoire through guest
expanded their choreographers.
Chesworth developed Rambert's rel
butation for technical excellence

Christopher
desingerart,ingeneratios by
and
⑳
1974 - The Take Over
↳ Chesworth of
supported choreographic development
Rambert's dances,
reviving regular
workshop
seasons
of member's
company choreography.
1. Most notable success from his time as Artistic
Director was Cruel Summer (1977) which was

created by Christopher Bruce and Lindsay Kemp

and himself in the
featured chesworth cast.
↳Cruel Garden (1972) is a spectacle inspired by the
works Frederico Garcia Lorca.
of
up Features three scenes

⑳
Dance for Film & TV
↳John Chesworth
was interested in the
for dance
really
possibilities film and TV.
on

>Project 6354/9416Mm2for BBC TV (1974) and directed

an experimental film called Dancers' (1978) which
and Krakow film
wo n awards at the
Chicago
festivals.
ip Associate Produces for the
BBC production of
Rambert's children's Batell's
programme Bertram
Side Show

-
After Leaving Rambert
Chesworth
↳ became the fo Artistic Director
unding
Youth which he
the National
of

led
Dance
from 1985-2003.
Company,
↳
Appointed OBE
in 2003 for his dance.
services to

“I think that's what kept me going if it had been the same all
the time I wouldn't have lasted the course” John Cheswoth
 Robert North
AD of Rambert 1981 - 1986
North's overall vision was to b
ring about a varied
repertory,
with of
the best its kind. He did
each work
for substandard
being instead
to
want
not

Settle
performances, expose audiences to
refined and well-crafted pieces of work.

⑳
About Robert North
Born in 1945
↳ in South Carolina, U.S.
is went Central Arts,
to

↳ Took dance
School of
in his
1963 in
England.
classes spare time.
↳Attended the Royal Ballet School from 1965 until
1967.
↳s went
newly opened LSCD
to classes at and was

part
oftheir first performance group in 1967.
In
1) 1968, North
became a member Martha
of

↳Gataetied in
England and became a

member
permanent ofLSCD. North
later became
Artistic Director in 1975.
↳ created work for Rambert in 1967 Death
First and
Distraction.
his
Throught with
↳
choreographing
career,he mixed

dancing.
↳Danced in Death Maiden(1980) and
and the
Lonely
Town, Street (1989).
Lonely
⑳!!!
Troy Game (1974)
Considered North's
Robert
↳
big break.
↳ All male piece that celebrates
the male dancer and male
behaviour with
ahumorous take on make

competativeness.
↳
Display of power, strength and stamina.
set
is Brazilian
rhythms
to -

Popular throughout
the world performed as part
and

of rep many
of companies including: Royal Ballet,
Dance Theatre Harlem and
of
Stuttgart Ballet.

⑳
Policies at Rambert
A
↳ balanced contrast dance
of and musical content.
↳
Policy strongly supported by resident choreographer
Richard Alston and assistant
choreographer Christopher
Bruce.

Keeping Marrie's
↳ policy modern
company with music as a
-

Rambert's rep
primary aspect of and in of
despensible part
its character.
Connection
↳ with
audience
through music different
of

genres, including popular music.

 Richard Alston
AD of Rambert 1986 - 1992
*
Early Training and Background
in 1948, Sussex. He went Eton (1965-192st.
Born
↳ to
College
Studie fine and
ar t theatre
design Croydon
at
College
of Art.
Interested
1)
Rushenburg, who
in created
designs for
the
Cunningham Dance Company, led him to see the

company perform.
↳ 1960s
early development
of
Contemporary Dance in London
-

Alston The Place.

evening students
took in classes
part at
↳
full-time
One of the first LCDS
at (1967 -

ballet, modern dance

land)
Graham).
Training in
(predominantly
↳ Studied alternative Tai Chi further
more
styles and
-

in
interest
He wated to Cunningham. (first
↳
persue
was Transit 1968). choreography choreography
LCDS
1970
↳
Beg dance
to in compositions for
-

an

and for he
I two created works for
next
years
LCD
Theatre.
Alston formed stride Dance
In
Company.
↳ 1972
In
↳ 1973 he met
Mary Fulkerson, adance
teacher who developed anatomical release
She influencial
technique. became the m o st

life.
figure in Alston's
↳In Alston
1975 to America
went
study at
to

Studios. Studied of
the
Cunningham a
range
dance forms
(Geogre Balanchine's neo-classical
ballets).
19LL- Alston returned fromthe USA and
↳
began
teach
to

his own
Cunningham-based
Richard
classes
Alston
and
and
formed
Dancers.
company,
1980
↳ -

Choreographed first work for Ballet

Ramberl --

1982-Co-found Second Strider Dance

↳
up Formed another Richard Alston
Company.
Dance
company,
September of 1994resident
company
Place Theatre.
in at the
⑳
Influences
Frederich
↳ Ashton
Ashton
↳ was afound

Ballet and one the

of
ing choreographer the Royal
influencial dance
most
of

figures of the 20th

centery.
Alston
↳ was influenced
by Ashton's use

epaulement (head and

shoulders), work,
feeting
elegance, technically demanding content, mime
and balletic
vocabulary.
Robin
↳ Howard
↳ Saw Graham perform and realised that her

missing from
what
technique was was British
Ballet-
Convinced
↳ Martha Graham and Marie Rambert
Ballet
contemporary
to becom
patrons of his
-

Crust LTD.
Set
1) upthe Place and invited Robert Cohan to
be the first
Artistic Director.

homegrown talent Alston,

Encouraged
↳ such
North.
Robert
as

Sioban Davies
and
↳Merce
Cunningham
American and dancer (1919-2009)
is
choreographer
Member of Graham
↳
his ow n .
I

company
before
creating
is studied fine a r and
t was the innovative
most

influencial the 20th

and
choreographer of

centery ram's
Cunning
↳
style from the
music.
works
↳i
separated
Dance for its rather than
having
us own sake

a narrative.
↳ Used chance as a means
structure of
to
generate
his
movement and work.

change method or dice determine how

to

dancers move.

Music and would

only
is movement come

together during performance.

a

Alston introduced
while still
Cunningham
to
technique in
fine arts.
1960,
late
studying
Cunningham's approach
impression Alston.
to made
movement

great
a on

Cunning ham Graham where

techniques
and was
Alston found of which suited
way moving
a

his and mind.

↳
Fine
body
Art
for America in 1975
Alston left
4
seeking new

America
ways
dance development
was
taking shape. was

at the of
forefront new initiatives and home to
of the most innovative artists of
some
emerging
the time.
·
Contributions to Rambert
Cunning
fusion of
A
ham technique.
contemporary technique.
↳ ballet and
Stro
-
emphasis o n design.
ng
Abstract
↳
repertoire. Belief
that dance should be
created for its own sake and not tosupport a
narrative.
from
Invitingfor
choreographers
> abroad make
to

works the
company.
↳ First
work for Rambert (Bell
High), later that
year (1980)
-

was invited to become resident

choreographer. Changed name Rambert Dance

to

company change
reflect the
to

awider audience.
attract
in
style and

Alston
↳
appointed Artistic Director Rambert
of in
1986. Dur ticket
economic recession, which hit
ing an

badly. developing
Company make
sales wasand

economic a time did

at the
Thriving,
issues for the
n oc
t reate
any company.
Alston
2D did not compromise on his vision for
abstract work. Board directors
of felt repertoire
that
needed to contain less abstract works
-

too in order

toappeal awider
to audience. Alston dismissed
due to this in December 1992.

↳Later, Alston moved from the

away strong
interested
emphasis o n
while
design in hisDance
Rambert
works that
He
him at
company.
said: "I further
close
am
really interested in
developing
between movement
the
relationship and

music.
Soda Lake (1981)
Richard Alston
Origins and Influences
·

originally
created for the BBC
↳Soda Lake was

didn't
the
but
project come
together so it
was adapted for instead.
stage
First
↳ time presented at Rambert
a at
workshop
Riverside studios, London, and danced Micheal
Clark.
by
Niel Hall's sculpture, Soda
Inspired by
↳ Lake
S Alston
(1968), which saw at the woarwick

Gallery in London.

Original sculpture used as a set.

Replica
is replaced
later the
original sculpture
follo first
performance.
Music
wing the
↳
origially composed by Nigel Osbourne but
he
thought music from the dance
will distract so

rejected
dancers
Only asmall have
L number of ever

pattieon a que
very specific
required.
These includ Micheal Clark and Noirk Baldwin.
Soda Lake
↳ (1968) sculpture inspired by a dry
of the same name
lake located inthe
Mojave
Desert.A
to Nevada.
large area stretching from California

·
Theme
The
↳
dry Mojave Desert
and the qualities
of the
sculpture.
The
↳
way the sculpture defines space.
Qualities of
↳) dance linked elements
to of

space and distance.

Absence of
↳ music and the
presence of asolo

that
the focus centred
dancer
suggests must be

around the dancer and sculpture.

↳ At times the dancer becomes a part of the
sculpture sometimes he echoes it
and
through
the resemblance in his movement.
·
Physical Sel
-ting
Two
↳
sculpture
part
Metal
↳)
pole which stretches up an
at o
ingle and
has attached
a
large elliptical loop at its

apex.
Thick
↳
pole which is
hung diametrically
opposite the at which is
point the
loop
attatched to the thin pole.
do not
Both
↳
suspended so they quite
reach
the floor.
↳
Sculpture made offibre lass and
plack.
out

aluminium and painted gloss

·
Costume
Black
↳ leotard (short
sleeves in first production
and sleeveless).
later
Long sleeves for female
performers -

tightly fitting, slightly

Match, flared trousers.
↳

Bare
is
ing
tool -

Ligk
ting
-
·

silhouette. Dancer begins to

begins
↳Dance in
move I: Its raised until white lint
are
I
↳
washes
stage.
the
until dancer takes
Light remains intense
final when
movement
lights
are lowered
create asilhouette.
again
to

Aral
Setting
·

No music.
↳
↳D Audible sounds of the dancer's breath and feet on

surface.
stage

Choreography
·

Dancer starts floor afetal

↳ on the in
position. Toes are
pointed as he
them side back
stretches his
legs out, keeping together on his towards the

audience.
↳ The dancer stands
straight, left leg
his in attitude, torso
on
rightleg
and upper body tilting side, focus down
to the
past right
arm which is

to the audience, left the

ing
stretched out hand in face audience.
diagonal
In the behind the left
↳ centre of
the
sculpture, dancer stands with
rightleg leg
on a relevae. His focus is dow and ar ms a re behind stretched
palms up.
Dancer contracts down and releases.
-
Martha Graham.
Dancer stands behind the pole, hips
↳
stage left and his
focus is His left ar m is bent
facing
so his hand is infront
of
stage right.
the The is behind. Hethen plies keeping his
pole. right hand straigh
upper body position the all the
way down.
same
↳ The dancer's
right leg bentslightly as his
is left
leg
is lifted and
straight
behind him flexed foot
out
(arabesquel. His arms a re above his head

with his focus is

his wrists
slightly bent
stage right.
↳ Dancer is floor his
on the on knees, feet
a re
pointed towards the
ceiling
hips forwards. He supports himself h is
w ith
forward and chest is
facing right
hand lefthand up 45%
pointing
and at

Much
is of the
movementmaterial in Soda Lake
is concerned with from on-balance to
going
off-balance
initiate motion.
and
allowing body weight to

Contineous
↳ contrast in speed-dancer goes
from stillness to rapid movementwithin a
fraction of asecond.

I
pauses finite but
are not
dependanton the
individualdancer.
Altho danced Soda Lake has
ugh
↳ in silence,
which enhances the dance
its ow n
rhythm
of
depth
in terms and
logic.
Natural slow
↳
rhythms whenwhen in pace.
Rhythm
↳
gains complexity pace is faster
while still natural
regaining the
body's
responce.
key positionswith
↳s

foot
↳ Arabesque of raised
leg relaxed,
arms raised and extended backwards
line.
ging
Livi an
open shoulder
L
Lunge(either on front
Rooster ( 10th October 1991 )
Christopher Bruce
Section 1: Little Red Rooster
·
Theme
↳
Masculinity, Confidence, Pride, Chauvinism
Male
performing the Rooster Strut', turns
↳ dancer section
starts the

the
to audience as he sleeks his hair back and
adjusts his tie.
↳Demonstrates the
pride and chauvinism men showed in the 60s.

Wing flapping
↳ introduced
by dancer.
4
Metaphor for masculinityand confidence it
recreates the as

rooster who is
wing flapping of
cocky
a
ready charge. to

Choreography
·

↳Dance five more dancers

opens with
the
stationary on
stage. The
life
man
downstage right begins
comes to and the Rooster Strut'
sliding his feet
across the floor and
bowning his head with hands
in
out front of h is to mimick
legs
rooster. a

as though
dog, Ibutting his hands up
↳ Dancer
acts like
they are paws,
a

to and then he rolls over onto his back,

a
dog begging eager please,
limbs in the
au F
Female dancer lifted (as it
by two male dancers, they grab her
against
her will as legs before kicking her right
she kickes her
being put down
holding thatposition for
and
leg up a second.

Aural
Setting
·

↳ Little Red Rooster recorded

Willie Dixon.
by the RollingStones written
by
On the
first appearance
↳
P of
dogs begin to barkthe dancer introduces
On
wing flapsing
the 3 chicken
jump. the
rel of
seat the words he
acts like his hands out like then
dog putting
a
they
a re
packs and

rolls over o n S boeck, limbs in the air.

hi

Physical Sett
"I
·

↳Black with black backdrop.

stage a

female dancer when it

↳
Lighting is white a was↓ until enters
changes
to a
warmer, closer to
red, tone.

·
Costumes
↳Each male dancer black shoes
wears acostume,
they all wear

and trousers but each male has a coloured

different blazer, shirt
and tie.
↳Female at
t he

black
dancer has a black dress with a red
linning bottom,
leggins and shoes.

·
Dancers
↳6 dancers all end).
in this sections (though 10
join in at the
male
↳75 and I female.
↳Female dancer

in the
interacts with all move dancers
demonstrating
well
how females
bos were seen as
pray and sexual
objects as as
pointing
towards the sexual revolution that time.
at the
was
happening
Section 2: Lady Jane
·
Theme

Dismissing past relationships, courtlydance, reflection ofthe questionable

↳

behaviour Bruce when

growing
s aw
up.
is dancer who
↳During this section there
female
one make
performs short
three different
ducts with dancers.

In the
↳ the
singer Jane
lyrics, keeps
going back to mention Lady
suggesting that
any other is irrelevant.
relationship
↳ The male dancer slaps afemale dancer's bottom as she leans over.

↳ Male and female dancer into each other aturn

run and
perform
intwining, suggesting a
courtly atmosphere.

Choreography
·

↳Initial attention focused

illusion ofacourtley dance with on the
The other couples shuttle in amore
centralcouple.
contemporary
social dance at back or
t he side the from which some of
of
stage
↳ thememergebriefend his
partner Lady Janeperform the
minuet-style
bow to
steps
-
and one another.
↳Female dancer
Lady Janehugs herself, arms crossed across her breast
as
with in
she sways down
gently legs parallel, suggest
to amodest demeanour.

↳ The second female dancer Lady Ann' pushes the centre male dancer

as desperate for
if his attention, she turns with
one
leg up at

90 as the male dancer holds her hand. His focus is left and
stage
doesn't
4)
look at
Lady Ann
during this.
She is lifted dancers with
by three other male on e
leg up.
As she is down, she falls into
put another male's arms, while
hand as if to express
another on e
pats her
pitty.
Aural
Setting
·

YernEnrds.Rolling
stones and written

I
The world
↳ othe
f
songs proclaim man
the be
to Jane'ssevant,
as he provides his knee sit
for her to on.

song Lady Jane, Lady Ann

↳Three women addressed in the

SweetMarieboth
of which are
represented by three different
dancers.

·
Physical Setting
↳Black and black start but
stage backdrop at the turns red aminute
to black at the end when all dancers
into
the dance. Backdrop goes back
are
positione in circle.
a

↳
Lighting is awhite wash, lightens up later on, before dimming back
down at the end.

↳> A tint ofblue at start

the and the end.
↳
Lights and backdrop
going back to
original state can the
represent
Janeno matter
way
what.
that male
the will always return
Lady
to
·
Costumes
↳Each male dancer black shoes
wears a costume,
they all wear

and trousers but each coloured

male has a different blazer, shirt
and tie.
↳Female dancers have at
t he

black
a black dress with a red
linning bottom,
leggins and shoes.

·
Dancers
↳All 10 dancers, 5 male and female.
5

↳At
the
beginning all dancers are in
partners (male-female
walking
towards each other.
4) Most
ofthe dance is between the centre made dancer and

The
three female, one atime.
at Male dancers perform few
a

lifts shuffle in aball

throughout couples
and the room
dance at the back and sides.
style
↳
They all
join together in acircle at the
end ready for the
next
number.
Section 3: Not Fade Away
·
Theme
InFun, Social Dance, Positive Relationships, Courtship.
begins with
↳Section
every
dancer
turning tothe into
separate two

/males and females),

groups following initial claps of the
female dancer in the
centre.
and has fast tempo setting the
Themusic very
↳ is upbeat a at

↳ Mate and female dancer from behind the other

emerge
dancers as the
perform spring into bows.
Choreography has fast
female
dynamics and alot of male and
contact between the

dancer
suggesting
their
positive relationship.
type of turns (man and
↳ Some of movements include ballroom

woman hold each other

as they turn) but
performed fast across the
stage.
Choreography
·

↳ As theyemerge from the

rest
ofthe dancers, male
the and female
dancers perform a
spring facing each other followed by bow
a as they
have their backs at each other. The male dancer holds the
hand of the

female turns with her leg in then she leans

dancer as she a
high attitude and

to observe the male dancer's

over

back to her.
ball
step
change aleap
into
travelling
4 The two dancers perform playful, childish movement. As they
ofmost

back, female dancer puts her

are back falls to
leg outand more dancer
to

floor. He stomps his fists and feet floor as if

the on the throwing tantrum
a

and female dancer turns, kicks him in the

bottom, drag turns and picks the
floor
male dancer off the
by offering him her hand.
↳Female dancer is
clearly putting less effort
than the
male dancer, he is trying
to show off
and
barely pauses.

Aural
Setting
·

Not Fade Awaywas originally

Buddy Holly
↳
recorded
by Crickets,
and the

cover
by Rolling
the Stones in the
style of Bo Diddley. Written
by Petty and
Hardin (1957).
Dance begins with
↳ loud claps from the
dancer centre which
in the

indicates a fun and social

atmosphere.
↳Music is and has fast
upbeat a
temps.
↳ "I'm
gonna tell
you how it's
gonna ber-lyrics mood oft he
contrast the
beat. Male
singer is
saying that he is
going to tell the woman what is

going to happen suggesting patriarchal behaviour.

Physical Setting
·

↳Black
stage
and ablack
backdrop.
white which doesn'tfollow the
Light spot stage
↳is is a dancers
centre

Atthe is left with

end, figures
↳
female dancer
as the alone and traces her

fades.
hand and
looking up, the light
·
Costumes
Male dancer wears black shoes and trousers, a
purple shirt, green
tie and a brown blazer
Female
↳
dancer, black dress with bottom.
wears a red
linning at the
Dress is sleeveless, black shoes and
leggings.
·
Dancers
All dancers
↳ are on
stage initially, but
leave
only
two dancers on

stage.
three male dancers
↳In the
end come on
stage pick
to
up the male

female dancer
dancer or
stage, leaving one
by the end.
Section 4: As Tears Go By
·
Themes
Isolation, Rejection, Childish Games.
Bullying,
↳

1) Three male dancers and three female dancers in two

perform
A forth
groups.
separate
make dancer seems to be
observing the
tourth female dancer fitin with
situation
trying
as o is to

the b ut is isolated.
rest

Two
1 trio, female remode
male
trio, one male and one

soloist.
↳Two trios sometime
↳Female trio dances
join
in
together.the
aline fourth female dancer
together
as

join in butis intimidated, falling the floor

to
attempts squatting.
to

Throughout
4 this
section, and female soloists observe
the
male

a re continuously
the trios and attempt to
join in but
rejected.
↳A
childish nature can be seen in the isolated woman's movement (skips,
turns and little turns) as well as the selfishness in her behavior.

Choreography
Three
↳ link outstretched if afolk dance. The
women ar ms as
going into
outsiderwoman of the
line, but the
other
attempts
to
join the
end

three of
dancers stare at her and she drops
the
away giving a visual
image
an individual
rejected by community.
Li Two trios in the isolates
a re
dancing together partners,
make and female, as

woman travels
stage up
in a
diagonal performing chaines turns with her

arms outstretched and head

facing up. She stops abruptly and stares into

couples in stillness.This might have been done

the show
to her
trying to

impress the
rest of thecrowd but
failing,
LD Isolated female dancer is squatted with her arms and head hopped over.
Isolated male dancer approaches and the both look at each other before
the female dancer jumps on male dancer
the with her arm around him,
She performs
being supported by
his hand wrapped
with her
around her waste.
in unison before
two up
and down thrusts
legs getting down.
Aural
Setting
·

↳As Tears Go
Bywas originally recorded by the
Rolling Stones
and written
Mick Keith Richards
Andrew Oldham.
by Jagger, and
Music is in
↳ ballad
a
style tempo.
"I
↳ sit and watch as tears
go by"- lyric
is reflected
through the isolated
dancers' actions, theywatch the of
the have fun as they
rest
community
are outcasted.

·
Physical Setting
↳Black
stage
and ablack
backdrop.
Lighting
↳ is awhite wash
throughout.
At
the is awhite the female dancer
begginning there
↳
spot over one

before the of
the
rest dancers com e on.
·
Costumes
↳Each male dancer black shoes
wears acostume,
they all wear

and trousers but each coloured

male has a different blazer, shirt
and tie.
↳Female dancers have at
t he

black
a black dress with a red
linning bottom,
leggins and shoes.

·
Dancers
four female.
↳
Eightdancers on
stage;four male and
↳ Three three female dancers in with
male and two trios
respective
gender.
↳ One male female soloist,
and one who represent being
ideaof
the

↳
isolated in
Most of
the
society.
dance, the
trios dance beside each other but at

points and dance in female.

they join together couples, make and
Section 5: Paint It Black
· Themes
Depression, Grief over
losing loved one,
Self-loathing,
* a

D self-obsessed mood.B
eranged and
ullying. "I
of
↳Depressive mood male dancer
I
suggested
it
b
I lyrics
black
see a red door andwant to paint -

Self-loathing suggested through serpentine

↳
male solo: and

extended in
gestures elbows.
Circular
1s
straightling angled
with
gesture cuts across his stomach as if

disembowelling himself.
mind contrast
↳Deranged state
of shown
through extreme
in levels and use o f
repetition of
key grooming gestures
such as tie
adjusting. female trio
Bullying
contact
and
manipulation
work with the male dancer.
seen
through
↳ Trio could be
interpreted as a manifistation of the
male's own
neurosis (mental illness).

Choreography
Male soloist enters
↳ USR, walking backwards then

gradually alters his

facing to curve to face DSR, where
he
drops his torso over in alunge.
First
solo builds in
energy and power, increasing in

intensity
cratic
and
tempo
distressed
until his movement
chorus.
appear
and
by second
the
Female trio
↳
performs sensual motif:the
circle their
hands around their head, invert their knees, stroke the
faces,
side otheir
f

Their back.
presenting
an extended
leg and arching
1. Their falls floor in
to the
role
changes once male
distress in of foetal position.
↳D D
moving and out the

↳Errgi, sispenses.Etul, extended, strong, fluid,

staccato
energetic us
lethargic moments, agressive,
moments.
ferate trio
Dynamics of
in
Smooth, soft, controlled and control,
energetic,
↳

playful.
Male
us

focus
dancer cuts
DS
through the whole space with
main
on the area.
-

↳strequent and fluent transition between levels,

utelising
rolls and slides
integrated with
leaps and
expanded hops.
Female
↳ trio in aline circle us and behind
man.
the
or
mostly
↳When
all dancers dance man is
the
the women, and
together, usually
he is
encircled
by in most cases
on a lowerlevel than them.
Ends
↳
level with
male dancer on low
with
crawlingstrut
a
desperate
reach towards the women who off
stage right in aconfident manner.
 Male
1 alone
starts or
stage, quickly joined on stage
of they share
women, but
by a trio no
relationship
in terms of
space, movement or characterisation, as

they blend into

the
background.
↳Towards the end both
groups collide CS as the man

falls back and a

woman chatches him.
↳ Some actions while others are
are
supportive
manipulative as the
women pass the
man
along
to each other and control his direction of movement.

·
Aural Sel
-ing
Paint Black
↳ it
for
Rolling
by the Stones.
describe
↳
Song lyrics most
the
part to
meant

blackness and depression.

1)
Accompaniment includes tambourine, guitar, drumbs,
symbols and
indian-style rhythm.
Fast
↳
paced, energetic and rhythmic
↳
Strong
neo
my
beat
accompanied by atense, repetative

↳ Figuresinpace and volume between verse and chorus

which appear sudden and male
erratic (matches the
dancer's movement).
↳Verse:

lyricsestating,
slower pace of

faster
symbol
↳
Chorus: crash, lay lyrics
and louder use of voice. Not a traditional chorus.
↳ Distinct
build-up towards the end
through accumulation of
fast
paced instruments, louder more
agressive
I singing
voice and repetition of words and
phrases.
↳Use of
humming the
at end.
↳ "I
have to turn my head until darkness
goes" the male
my
-

dancer his head from the

performs with
facing away
female trio in each movement. Lack of connection to the
trio until the end.
very
is "I inside is black"
-
look
myself, assume my
heart the
is low to the
male dancer ground, intertwining his hands
and corists which then
sweep floor and he looks
across the

looking into a pool of water. Hethen lifts up

down, a s if
into abackbend,
dramatically placinghis forearm over
his forehead in dispair.

·
Physical Setting
Lowerintensity pool olight-dim/faded
↳ f
large white
overal
spot centre
stage and darker
edges.
outer

Dimmer
lighting reflects the dark themes/atmosphere
portrayed.
·
Costumes
Male dancer
↳ wears dark
trousers, black jazz shoes,
bright red shirt, long sleeve in a
standard/baggy fit
with
a tie.
pink
Female dancers
↳ black
wear
high neck, sleeveless
fitted mini dress, black
tights, black
jazz shoes and

red scarves around neck.

·
Dancers
14dancers, 1 male, by female
Male
↳ solo and female trio

Role reversal
is as male seems to be
manipulated and

bullied female
the trio.
by
Section 6: Ruby Tuesday
·
Themes
1)
Hippy revolution, sexual revolution, free love.
↳Carefree nature hippy
reminiscent of culture
through
her dynamics and small
gestures.
Female wraps her around around her
↳ arms
loosely
torso and pauses momen -arily upright (aheel
floor)
extended in front and flexed on the
facing
↳
downstage.
Gentle walks and the she twiddles her hair
way
oughtstume supports her
tree-spirited nature
through the use of bare feet and
long, loose hair

style.
↳ Contrast in costume
compared other
to female
dancers in previous sections.
Female wears red coloured outfit
↳ which
be linked
symbolises
the
passion an sensation, which could to

60s,
sexual revolution which occured in the late
Thro
ug
↓ The
development of
the
contraceptive pill.
coyly plays her hair,
impulsively turning to
i
with
the
into of male

R esjumpcan
arms
quartet.
day
looking
* be seen to the audience
acurious and
with look her face
teasing
on as

she holds a
piece of
hair across her hair across
face before backwards towards
her
male quartet.
running
↳
contraceptive pill
Development of allowed women to
exercise free love without fear of
consequences.

Choreography
·

↳
Ruby Tuesday wraps her arms around her torso
loosely
and
pauses momentarily upright
(a heel extended in front

facing downstage.
and flexed on the floor)

↳Wrapping gestures suggests vulnerability.

↳Female looks the audience, at her
run
coyling hair,
before
impulsively turning who to and jump
her mid-air
into the
arms the male
of quarted, flip
and catch her in an
elegant
pose.
4) Geastures are Flowers
suggestive freedom
of
through
-

cupping wrists, hair treirling.

Large, powerful grande
↳ leaps, jumps and spins to

jete and pirouette.

↳slighthopping/shipping sequences
-

I
hopping on one

the other lifted, flexed

legwil In bent
knee and
foot.
Ballet
through
evident the turn-out,
↳
technique
arabesque, preparation for and
pirouette use of plie.
 ↳
Looping, win orinsert
to
lead into one
weight.
↳Extension and suspension.
↳)
strong sense of
gravity
that
pulls movements down

slowly
↳Stillness the audience.
↳ Males
and
looking at

perform rooster
gestures and
backing singer
actions to
swaying clicking fingers standing back to
back
is
slow pace begin.to

Soft, ding and liquid dynamics are used

↳ fol
innocence and freedom.
of
throug give sense
nout to a

Skil
4
oping travel steps have
asense ofe ase and
dream-like.
continuity
->

↳Variety in speed, lightness, sharpness and

the
movements to accentuated speed in the
weight of

head for the of the

spotting pirouette, heavy drops
ar m and head to side.
↳Control of power.
underlying
-> sense
↳Whole female dancer
stage is used after
the enters
USL.
circles, with
Ruby Tuesday's follow
pathways often
for
recuring
travel
the
USL-DSR
use of
diagonal large
sequences -

↳
Quick
Smooth
↳ transition
chang in direction and
between levels
facing.which
vary
constantly.
Men enter
↳ USR and walk in alinear procession
the huddle
across
stage and to perform sways
and clicks like back up band.
a

4Female dancer initiates contact with male by

quartet
us, theythen encircle her.
running
right. RT
* At
the
end males scatter off left
and
twirls centre
stage
waits for black out.
stage
and
4In
transition, RT
stands tall
stage left,
and saunters off

Fire
passing the woman from
this
play with

Majority
LI of section is asolo.

Ruby
↳
Tuesday manipulated rather
b
y
male
quarted but
doesn't s eem
overpowered, supported and
shown off
I sense of
by men.
like
setition
res through key gestures
flower
cupping gestures, arabesque, twirling hair,
jete.
↳ Motif development/variation actions used in
contact work.
·
Aural Settin
I
Rolli
Ruby Tuesday by the
spirited woman.Rumoured
↳
-
Lyrics sugg
afree es be
+

to

1
about -it's
i who kno
ex be was wn to a
free-spirit, who
in for had left whist he
did settle
not one place long and

was tourl
ing, leaving him heartbroken.
Starts
↳ in silence, and is
rhythmic piano which layers
melody
faster than the pace of
1
Slow
The
lyrics. between
↳
paced singing with of
lots pauses phrases,
making feel
it and casual.
easy
Accumulation
↳ of instruments. Recorder
- short
playing a

earthy
Drums
mid-high pitch melody which is repeated.
come in and play avery quick accented
↳
phrase
which is
repeated every 4 counts.
Increase in pace chorus.
is louder and increases
and
rhythm in the
Singing
pace.
↳ Ends with a s recorder
wirling melody, accompanied by
piano, which taylors ofquickly.
1. "She comes and
goesthe soloist performs an extended
travelling phrase with multiple changes in direction, echoing
the
lyrics.
↳
"Change"
flower
-
she
quickly flips her hands down from the

gesture offering change in dynamics.

a

↳"She
just
be chained"
can't the soloist steps repeatedly
-

on
demi-pointe, reaching upwards and
grabbing the air as

if she is
pulling achain.

Physical Setting
↳ Bare stage, premiered on aproscenium arch
stage, no
used.
props
↳ in black-out
is dimmed and almost
Lighting as she enters.
↳D Takes on a
deeper
blue tone which becomes
lighter,
afaded over
expands to
spotlight CS with dark

As us focus
to on the
technique and movement
of the solo dancer.
↳
Brightens to wide white when
spotlight she initiates

jumping
with the
contact m e n by their arms,
into
include all dancers
stage.
opening up
to on

·
Costumes
Male
↳ dancers wear dark trousers, black jazz shoes,
blazers
they also wear
matching and mix of
a

colors in their shirts ties

and

↳Maybe links funeral, mourning the

to loss of
Rub
- y Tuesday.
female dancer is
wearing no shoes/bare feet), calf-
↳

length, long sleeve dark red dress which is

high neck,
body and flares from the skirt. Also
fits the hair her

is loose, long and pinned).

free front
 ↳Ruby Tuesday wears
districtly differentcostume to
females
other
The rather than
reflecting the slick
-

modern look of the 60s, RT is more reflective of the

hippy culture that

emerged in the late 60s
the Vietnam wa r.
following
·
Dancers
5 dancers:
↳ 1 female and
soloist 4 males
4)
Initially female solo, 4 males
a towards
enter the
end of the
piece.
Section 7: Play with Fire
·
Themes
Separation of the
↳ classes, Male
ego,
Courtin
I
Teasing gestures
1) and threat, enchanced
by
the

lyrics and chacterisation show how the male

dancer's is arisk.
t
ego
Courting of the
↳ the
shown
through close
proximity
dancer
make the female dancer. She
to
plants
her feet a wide
into second plie face
ing upstage,
places the feather box hips and slides her
on her

from side to side Male dancer

·rely.
bottom
provocate
her and walks turns his
ignores
focus upstage,
he then
on her
Female holds box
and
reluctantly walks formal
towards her.

drawing male a
to

ballroom hold.
Female shows revolution
courting male
↳
sexual
and
improvement in views and expectations.

Choreography
·

Threatening tone from

is mate
coupled with the sharp
pointing gesture.
Male dancer performs
↳
social dance like in
gestures
-

He also
performs pose
out
legs. an
angular arms
fists
with (macho pose).
Development
↳ of rooster
the strut (curved arms,
still, head knees).
stood
pecking, walking
Smacks female's bottom and whips the
on

4 box off
female and mocks her with the
the bottom
rubbing
Fenes? ngron erforms
↳

her
arabesque, walks
uprightwith
·I it
over arms

shigh society positions,rubs box across her bottom.

↳Performs social dance
(shimmying shoulders,
ballroom,
lindyhop
kicking gesture, fast
intricate
footwalk exploring turn-out charesterics of

lindyhop.
Looks
↳ the
at male's
finger and "hammers"her
down
first towards it
two times before
waking
away.
↳Bouncy and staccato feel to
stepping
the and
hopping
clindyhopl gestures.
↳ Essence
fluidity
of and flow the movement,
to

circular at times.
smooth
gestures and
playful
Accented, harder movement (e.g. finger point give
the

to the accompaniment.
contrast
The
1)
pauses in the lyrics and music are often matched

by in the
dance.
pauses
Female
↳ enters USL (where RTexists), male enters
USR.
 Uses
stage
↳ small amount and
ofspace centre use

linnear
pathaways.
Pathways
↳ dancers
of interlink and cross
through each
other
1)
and
Male and female dancer
they also keep aclose

tend
proximity.
to other
face each -

it's aconversationbetween them, fluent use of

levels b both dancers and often initiated by the boa.

y
at episode,
s eg theraries rings
this
as well
traditional
as the hold.
partner
Repetition of the macho
pose point which is
motif

connected to the chorus.

↳Sense
question
of and answer in the movement, one

Man
is
responding to the other.

one woman's
the motif
repeats
mockery.
of as a

1) which can
They opposite
enter
their different
reflect
stage
sides of
the

lifestyles and
background/class.
Mirroring circular
of
hip/torso section.

Aural
Setting
·

day with
↳ I Fire
by the Rolling Stones.
↳Lyrics separate
the characters
by class.

Derogatory and againsther lifes

society girl.
↳
He, based on the

singer's relationship with

a
high-
↳Uses the idea of the
girl's mother
relying On her
father for wealth and comfort, and esIs that she
sugI
should watch her step because she is
her husband fire
with
relying
I on

and
playing by, laying
> and

"Don't
courting with him.
cos fire"is
play me

with firm and

you're
playing
with

from the male

met
rhythmical gestures
dancer
e.g. jerking thumb towards himself, clasping
hands in
wing,whilst
s
gestures macho pose and
raising
↳ "Not
his
finger
index
staring female
the
at
in
knightsbridge anymore"(Westminster) he as

the female's bottom in

slaps derogatory way. a

us "Now
you've gotsome diamonds" link
arms and perform
theywhich as

jollythem
idea of
the
stepping pattern
a

may suggest
"You better watch
being engaged start
a as

couple ...

your step girl or

play with
don't me..." as
living with
your mother, so

he whips the boa, from her and she falls to

the
away
floor. He
proceeds mock
to her
by rel seating I her gesture
rubbing boa across
the his bottom, before trowing
it
a t her.
·

PhysicalSel
-ting
Royal
↳ blue stage which lightens with anatural

coloured wash in the dark blue and

centre, cousing
black
edges.
shadows
up of the
dancers are created centre.
in the

Light
↳ fades to
a quick black as
out woman
the

exits left.
stage
·
Costumes
Male dancer
jazz shoes,
↳ wears dark trousers, black
tie.
wearsroyal blue
jacket, yellow shirt and pink
↳Female dancer wears black
high neck,
sleeveless
top, flared skirt
with
red
pleats/panels.
↳)Black red feather boa
tights, black jazz shoes,
↳Hair is slicked back ashort
in a
ponytail with

fringe.
·
Dancers
I dancers: 1
↳ male, a female
Duct reflects the
↳ narrative of the
lyrics and

music.
↳ Man and the man feels threatened
teasing wo m a n
Eventually
her social status. she
higher gets
annoyed him
at and deflates his Another
ego.
episode where women
put down men
Section 8: Sympathy for the Devil
·
Themes
of the culture
Neg re aspects
att
The 60's,
transforming The youth
music
celebration of the
of

nostalgia, a
by the

Rolling stones.
Repetition of key
1) motifs which
clearly relate
to those
Themes
treatment of
e.g. misoginy, male chauvenism, poor
women,
bullying and isolation,
experimentation, hiplDie culture, social dance, courtship.
Repetition also shows nostalgia, as if Bruce is
his youth all at once.
remembering
feel to the
↳Energetic and
busy section celebrates
the
Rolling Stones.
the
music of

Choreography
isitssectorsrepeated
Flexed wrist
↳ a nd
it
pointing index and middle
the head.
finger,
curving over top
the of

shrug (solo duet.

↳
Cocky
Male
shoulder and male
↳ duet/trio the
at start which make
chauvinism and
conveys
ego.
↳Ruby Tuesday Steps forward on her heels and points
theto audience.
is Females show
off the
thin
lifting upthe her
skirt and
rotating hip
to
(as mate performs the
pleased to
9
meet you phrasel.
Strong
↳ ballet and Graham influence
through use

-> spiro
illing torso.
0

Ebusy powerful lea-5.

etic and
nerg
-

section with
Females
lots
going
backwards, whilst
on at once.

us
shimmy men
perform
rooster the PIB soloist
gestures, and performs
a
swirling phrase and turns and into
jets the

serpentine stomach.
the
F carving gestures across

wey actions from previous sections performed.

L

ILRR:rooster strut, tie adjusting, head

pecking,
knee
knocking gesture, crow
geasture hand to mouth,
malefemale trio, ends the piece who
character
same

started it, with

a strut, tie and head peck.
LJ:Formal bow, Female
↳ hand from kiss,
ballroom hold/turn,bow with tilted
snatching away
torso and
swivelling
wrist, assisted
-
arabesque
N+A:quick
↳ tootwork triple step with
light hand clasp
swirling
aim
gesture, lindy hop style and turning,
hand, duet female kicks
kicks with
holding
male's head then slaps
where the

leg over his bottom.

ATGB:Female
↳
face, female
slapping male's trio
stillness position back.
at the
 ↳
PIB:female trio
clapping, female trio contract torso and

sway arms back and lifted above head in

forth parallel,
swivelling hips, male slice
gesture, extended lean, run into

splits.
male quartet's
↳RT:
twirling hair, running into
jump
to arms,

wrapping gesture arms around torso and one

leg lifted
-

and crossed.
PLF:
↳ macho male female duet where he smacks
pose,
her bottom she stands up,male squirms his
as
body
inwards which replicates the male's internal hand gesture
geasture
knocked knees,
with
play developed byfemales.
Dynamics
-
smooth, fas paced frantic
+
are and
throughout with
rarely any pause. Powerful, energetic, strong boncy
and
movement.
4) L5
Light, bouncy, fluid.
bow slows the flow and accentruates the chorus.
Fade
i) of movement and slow reflects
motif
closing
out

the
fading silence.
music into
Whole
↳
stage space is used, dancers use all levels
often linear Formations
rely
extensi with
pathways. rapidly
change.
↳ Women in circle, men in V, horizontal line.
Vertical line of dancers m o
performing
↳p forward and
which links to their
ving sections, like parade.
a

Phoise original a

4) Close
proximity between dancers in partner work, crossing
pathways between
multiple dancers, contrasting enterances

and exits.
Different
↳
choreographic devices used
Canon:male
↳ knee spin.
Fragmentation:fragments
↳ of each section are reordered
and reused,towards the end there is acondensed
version of each section which is in quick
performed
succession.
↳
Repettionof
key
motifs from each section,
especially
LRR
and LJ, but all sections are evident.
Motif development (rooster strut is performed with
↳

different
body parts, isolation, different
levels and
cast.
↳ Unison

·
Aural Setting
LI
Sy
S
m
athy
> for the Devilby the
Rolling with
Stones
in first Mick
lyrics Jagger
↳
ng
Dand
person,
sung documents
are

Satan He
, laying
> I hiimself.
through history
which be can works
seen the as of devil,but
the
is more about the flaws of mankind.
song
Fade and slow
closing motif reflects
↳ movement
out

The
fading music into
silence.
is
Lyrics discuss horrible in
events human
history as
singer plays
The devil himself.
↳ Trial and death Jesus
of Christ -

"Made damn sure Pilate

that
washed his hands seal
to his fate."
 Russian Revolution of 1917 "I
stuck around St.
Petersburg
-

it time for
when
The death
1
I
saw was
change.
a

"I
of the
Kennedys
-

shouted outwho killed

The
Kennedy?"
↳ Answered by "when after all it
was
you and me.
↳ The devil is in each and of us.
every
one

wimentgrant -cous bows.

"Afterall
Ruby Tuesday steps
it
was
↳ you and me"
-

forward and the audience.

points to

RightingSetting
·
sical
increases
brightness as the dancer from PWE
shakes off
the pain in his hand.
↳Red hue on thebackdrop suggesting hell.

Brighter
↳ than previous sections
fades
↑

I
Towards the end
ligkA1ing with the music,
a white
that faded spot is centre with
a
stage
so

dark blue hue.

Main Rooster
↳ struts into
main beam, and it
fades back to
quickly black a s he
performs his
last head peak to the audience.
Bare
↳
stage, no
props.
·
Costumes
↳ Male dancers wear dark
trousers, black jazz shoes
sleeved colourful shirts and colourful ties.
and

Female
long
↳
dancers wear black
tights, black jazz shoes,
skirts with red
black
high neck, sleeveless tops and

panels in the except RT who

pleats wears her red
dress.

·
Dancers
Full
↳i cast

↳Cyclical nature ofthis section reflects Bruce's

choreographic style.
↳
Multiple grousings, entrances and exits
Lyrics echo political issues within
contrasting
P

feel.
upbeat
Dancers/characters
↳ from previous sections
reappear.