What is the swan song dance about?
Although Swansong is open to personal interpretation, Christopher Bruce’s choreography implies characterisation of the three roles of the victim and his or her interrogators. All the dance movement is set and notated but at the same time the choreographer allows individual dancers to express their roles uniquely.
What is the theme of swansong?
Christopher Bruce’s classic and ever-popular Swansong made a triumphant return to Rambert’s repertoire in autumn 2007. This gripping piece’s themes of torture and interrogation continue to be as relevant today as when it was first created in 1987.
How is the chair used in swansong?
Use of chair to balance the victim’s weight. extremes, e.g physical violence followed by indulgence. Slow and lyrical movements and music. the shaft of light from the source, upstage left.
What three props are used in swansong?
Props – Chair, Canes, Cigarettes and a Red Nose are used to degrade the victim.
When did Christopher Bruce leave Rambert?
In 1979 Bruce left the Company to embark on a career as a freelance choreographer, although he still maintained a position with Ballet Rambert as Associate Choreographer.
What is the theme of Ghost Dance?
The theme of Ghost Dances deals with political oppression and dictatorship in South America and Bruce’s choreography reflects this in an eloquent and moving way.
How did Christopher Bruce develop Rambert?
After a brief spell with Walter Gore’s London Ballet, he joined Ballet Rambert in 1963 when it was still primarily a classical company. Christopher Bruce’s performing career was largely with Ballet Rambert, with occasional guest performances for other companies.
How did Christopher Bruce get into dance?
Christopher Bruce was born in England in 1945 and started studying dance at 11 years old. After studying at the Rambert School Christopher Bruce joined Rambert Ballet in 1963, where he quickly became the leading male dancer. Bruce appeared in works such as Don Quixote in 1964 and Coppelia in 1966.
What are the 7 choreographic devices?
Tools of the choreographer used for the creation of dances such as abstraction, canon, motif, contrast, accumulation, repetition, reversal, retrograde, inversion, fragmentation, and embellishment.