Movement material

• • ome of the movement material seen in the first section includes:
  • rotating leaps
  • pirouettes
  • stag leaps
  • Lunge position- swings of the arms- from down by the sides to fingertips touching shoulders, with elbows held at a 90° angle and back again
  • High kicks with flexed feet and a Cunningham side tilt.
• Direct Correlation moment- Run into 1st Jump in parallel with arms above head, then 2nd parallel jump and then jump out into a turned out fourth with arms in 2nd.  
• Matches the staccato drum beat in the Sound Score. Links to Alston’s starting point for ‘Strong Language’ DANCE/MUSIC RELATIONSHIP
• • Dance music visualisation: Flamenco arms with finger tips closing to water sounds in the music.
• Temp levé with arms in a 'V' facing upstage

  • Frederick Ashton ballet
  • Mutual co-existence as a 'whey' sound is heard
  • dance for dance sake
• Step turn step jeté

  • Ashton Ballet, direct correlation and music visualisation
  • High jump, high-pitched/loud glass shattering
• Dancers face the audience and do a high kick with flexed feet and a Cunningham side tilt.
• Shadows: All JCT, Cyclorama lighting design (Peter Mumford)

  • Rolling heads, weighty dynamics, relaxed torsos, sweeping arm gestures.
  • Standing in attitude, pitching forward so that the nose is touching the knee of the standing leg, working leg is in attitude derrière
  • The men use the entire stage and regularly change formations; at one point, they run in a semi-circle, creating two lines of DSR and perform in unison. They quickly change places in the two lines and perform duet contact work.