ASDR

• 
  

  ACTION

  String balletic quality- arabesques, turnout, pas de chat and port de bra. 

  Some recurrence of rooster and grooming gestures from LRR. 

  Lots of stepping patterns and passing gestures/ actions 

  Patronising slap on the hand enhances the sense of male chauvinism.

  The sleazy man licking his lips also shows male chauvinism.
•  

  SPACE

  Lots of line and circle pathways.

  Main duet of the verse takes place DSC.

  “back up” dancers perform US/C
•  

  DYNAMIC

  Fluent dynamics with a sense of regality, reflecting the flow of the music.

  No heavy accents.

  Clear sense of correlation with the music.
•  

  DEVICES/ RELATIONSHIPS

  3 key dancers – 1 male, 3 female.

  Male lead moves between the 3 females, eventually returning to ‘Jane’.

  Other dancers perform simple stepping patterns in M/F partnerships.
•  

  FORMATIONS

  Either straight lines across the stage or central circle for whole cast movement.

  Lead duet always performs at the front and apart from the rest.
•  

  COSTUME

  Women – identical dresses (as LRR) with black tights and jazz shoes.

  Men wear the same costume as LRR – the sections have a merged transitions
•  

  LIGHTING

  General wash over the stage allows all 10 dancers to be seen.

  Blue hue to the wash adds an ‘antique’ and ‘romantic’ feel to the section – it softens the atmosphere.
•  

  LINKS TO SUBJECT MATTER

  Lyrics suggest the man is giving up his polygamous ways to “settle” with Jane as she offers ‘security’. This reflects the ‘free love’ mind-set of the 60’s, but also the disposable attitude to women.
• First Rolling stones use of world music instruments - sitar, marimba and koto, as well as electronic.

  Lyrics link to action: servant sitting on knee is sexually suggestive

  2 different hight-pitched instruments working in counterpoint - elegant, pretty, feminine air.