Section C – Manipulation
Month: January 2019
Solo Video (25 January)
Section B – Abuse (Intro)
Solo Video (16 January)
A random motif, needs development if included
Gnossienne No.1 – Starkey Remix (Pascal Rogé)
The piece begins quietly and slowly.
- Could be an atmosphere of waiting, contemplation before the show begins. Very slow movement, if any.
There is a very gradual crescendo in volume from the beginning all the way through to about a minute in, during this time, a short melodic phrase is repeated increasingly consistently.
- Show begins (maybe it will start with slower movements as an introduction like the music is)
At exactly 1:21, the volume increases at a comparatively extreme rate. At 1:40, percussion is (soft, constant, controlled and fast) introduced, and the melodic phrase from the beginning becomes the main focus of the piece. The melody’s tempo, the volume is kept constant – a phrase of around 2 counts of 8 is repeated.
- Second show: slightly more conflicted, the audience will see a slight change in the otherwise completely identical movement to the first show, the dynamic is slightly more aggressive.
3:31 – build in volume, a sort of climax. 3:49, melody becomes lower and more sinister, percussion gets louder.
- Third show: movement becomes more chaotic, certain elements for pieces in between the shows (sections B, C and D) seep through.
From here through to the end, more layers of melody and percussion are introduced, the music is louder and more chaotic.
- Climax: links to all sections falling together / overlapping, the ‘facade’ has collapsed. The audience should make the connection between the separate sections.
At 5:15, they come to an abrupt stop – there is only 1 note playing quietly until the piece finishes.
- Finish with stillness?
Goals for Moving Forward with Solo #1
MOVEMENT
- more clear to choreographic intention, generally develop it more
- look into making animal abuse the focus: Elephants – use elements from their movement to create motifs (inspiration can be drawn from ‘Still Life at the Penguin Café’
- for ‘show’ sections (A), look into jazz, Broadway for inspiration – should be glitzy, glamorous, entertaining
STRUCTURE
- consider changing sections B, C, D to physical, mental (research into possible drugging) and emotional abuse (separation from mother)
- have ‘cracks’ peeking through during A2 + A3 – the abuse is taking a toll
AURAL SETTING
- try looking into more music options – perhaps something more sinister (movies and TV shows are generally useful)
- begin finding possible options for voice overs – documentary style?
- * consider having the ‘traditional’ circus music for sections A, with a ring master’s voice over + applause, laughter etc
- * over sections B, C, D, have documentary style voice overs
CHOREOGRAPHIC INTENTION
- make the audience know that animals perform in the circus AGAINST their will
- make them realise they are supporters of it
* possibly
Animalistic Movement – Still Life at the Penguin Café
Something that takes elements of an animal’s movement, and communicating its personality, rather than simply mimicking its movement:
https://www.youtube.com/watch?v=kO7wjpijSz4
More Notes
Part 1 – Abuse
- Maybe cut down
- Create a faster dynamic
- More contrast between ‘rest’ and ‘tense’ moments
- Perhaps add explosive end (agressive jumps, turns) that come to a blunt end, facing audience before next ‘show’
Part 2 – Manipulation
- smaller gestures
- sharp, look unexpected
- head movement (facing)
- isolate body parts explicitly, rest of the body follows
- Movements similar to a puppet, limp, comtrolled
Throughout – show
- cicus- like moements
- higher energy in choreo
- make the dynamic lighter
- Perhaps it can change slightly throughout (add a movement from other sections here and there)
- Add show movement to other section, have something consistent and recognisable throughout
Ending
- have motifs from the show and other sections merge together
- chaos
- not necessarily link, common theme between the movements
- come to a rest? sudden ending? what should the conclusion be?