ASDR

• ACTION

  The man’s gestures are serpentine in feel, with long extensions that wind and carve through the space.

  There are repeated circling gestures around the head and across the body.

  There are echoes of the LRR gestures, but these become aggressive and embellished.
• SPACE

  The male dancer cuts through the whole space, with a main focus on the DS area. 

  There is a frequent and fluent transition between levels, utilising rolls and slides integrated with leaps and extended hops.
• DYNAMIC

  There is a fast, powerful and aggressive feel to the section.

  Travelling is fast and bounces across the stage. 

  The movement of the women has a lethargic quality when in unison countering the aggressive/ staccato quality with the man.
• DEVICES/ RELATIONSHIPS

  Repetition and variation are the most visible devices. Individual movements and motifs are directly repeated – often reflecting the repetition of lyrics.

  The women keep to themselves and appear to ignore the man. When they interact, they manipulate and dominate the man.
•  

  FORMATION

  Trio of women in a line or circle US and mostly behind the man- women represent Pan’s people 

  When all the dancers dance together, the man is usually encircled by the women.
•  

  COSTUME

  Women – black knee length shift dress with pleats. black tights and jazz shoes. Red neckerchief- Mary Quant  

  Man  - black trousers and jazz shoes. Red long sleeved shirt and purple/pink paisley tie.
• LIGHTING

  And Music

  Very low intensity throughout with a dark blue wash across the centre of the stage

  Use of Sitar- depressive, melodic, dreamy feel.
• LINKS TO SUBJECT MATTER

  Physical embodiment of the music, reflecting the spiral of depression and self hatred- Link to PTSD of the soldiers of the Vietnam war.

  There is an element of bullying as the women manipulate and beat the man – however they could be considered manifestations of his own neurosis.

  Reference to 60’s pop culture is reflected in the dance gestures of the women in the later parts of the dance.
• • A male soloist performs a series of energetic, sometimes aggressive and often self obsessive solos while a trio of women dance in behind him.
• There is a clear yet loose rondo structure within this section; solo vs trio, trio manipulates man, solo vs trio, trio manipulates man, solo vs trio, trio manipulate man, solo vs trio to exits.
• This section sees a change in the costumes and the inclusion of a red neckerchief which becomes a whip at the end of the section.
• • The overall atmosphere of this section is dark  - reflecting the lyrics and intent of the song (a spiral into depression- PTSD of the vietnam war)
• It is interesting to note that all three female dancers wear identical costumes, perhaps showing unity and power over the solo male dancer, or possibly showing that the female’s identity and individuality is not important.  Both of these interpretations are supported by the movement in the section as the female’s dance in unison or complement each other’s movement individually to control the male dancer.
•  the solo male dancer is also portrayed to be enticed and seduced by the female dancers only as a group, irrespective of their individuality.