ASDR

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  ACTION

  The rooster and grooming gestures from LRR return and this time developed to included the ‘devil gesture’. 

  The LJ bow acts as a recurring motif on the chorus.

  There is a strong ballet and Graham influence in this section through the use of titled coupe de pied and spiralling torso. 
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  SPACE

  Whole stage space is used and dancers use all the levels to travel extensively. 

  Linear pathways are often used.
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  DYNAMIC

  Fast paced and frenetic throughout the piece there are rarely any pauses.

  The LJ bow slows the flow, however it them speeds up again soon after.

  The fade out of the music reflects the fading pace of the movement and the slow closing motif is performed in silence.
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  DEVICES/ RELATIONSHIPS

  Repetition of material from previous sections is seen in the opening  - specifically LRR motifs and the bow from LJ. 

  After the reprise of the lady/2 men trio from LRR, a condensed version of  each section is performed in quick succession.

  There is extensive use of shifting weight in the contact work in a range of relationships.
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  FORMATION

  These are rapidly interchanging and mercurial. 

  Solos, duets, groups all occur in rapid succession.

  Some distinct formations are seen – women in a circle, men in a V, horizontal lines.
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  COSTUME

  Women wear the same identical costume as previous sections.

  Men where varying coloured shirts and ties, but without the jackets.
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  LIGHTING

  The whole stage is fully lit with a neutral wash so that the full cast can be seen dancing.

  There is a red hue lighting the back drop  - suggesting hell?
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  LINKS TO SUBJECT MATTER

  The transfer of the rooster into the devil could be interpreted as the negative aspects of the culture transforming the youth of the 60’s. 

  The cyclical nature of this section reflects Bruce’s choreographic style