Influences

• MOVEMENT STYLE

  • A clear blending of classical ballet and Graham techniques –mostly developed through is time with Ballet Rambert.
  • Graham – use of contractions, spiralling, flexed feet, expressionistic aspects etc.
  • Ballet –There is extensive use of recognisable balletic vocabulary as well as open chest and back, extended lines,  a lyrical use of energy etc.
  • Social Dance – Bruce is known for blending other styles into different works to reflect era/theme/music. Folk dance elements are usually integrated into the style some where (chains, leading/following, heel toe steps etc)
• CHOREOGRAPHIC STYLE

  • Motif development and strong/symbolic repeating images
  • Dance structure is usually episodic or rondo form, with links to the theme and/or musical accompaniment.
  • Bruce uses a wide range of musical sources and these are often enhanced through the use of music visualisation.
  • Dancers are selected for their personal strengths.
  • Visual, aural and physical aspects of the dance are integrated to present universal themes/subject. A bare stage is preferred in Bruce’s pieces.
  • Bruce mainly uses serious themes based on a wide range of stimuli. Social and political commentary. 
• • AMNESTY INTERNATIONAL – Bruce’s social and political conscious have led him to work closely with the charity, who made him an Honorary Life Member in 2002. Bruce’s works are often concerned with people and the different circumstances that they find themselves in.
• • POPULAR CULTURE – Bruce draws influence from a range of social stimuli, such as art, literature, music, films and images. These are often associated with his personal experiences and serve to enhance the social/political themes of his works.
• AUTOBIOGRAPHICAL – childhood memories and personal experiences have a clear influence on Bruce’s works as they often serve as starting points – Rooster being a prime example of Bruce’s love of the music in his teenage years in the 1960’s!
• • BALLET RAMBERT – was his most influential training Ballet Rambert’s style and choreographic approaches had a big influence on Bruce (as it was with them that he was first identified as a gifted choreographer as well as performer)

  TETLEY and MORRICE –Morrice was a prominent members of Ballet Rambert when Bruce first joined the company and it was under his directions that he first made his performing debut. When Tetley joined the company during the 1966 transition, the new works being created by Tetley and Morrice interested and influenced Bruce.
• • Marie Rambert: Founder and Artistic Director 1919-1966

  Marie Rambert: Her dance company, she see potential in Bruce’s technical ability and creativity. Issued him with the roles within the company. Led him through the transition of classical ballet to contemporary.
• • Norman Morrice : Associate Artistic Director 1966-1974 

  Norman Morrice: Rambert got him to travel around America and bring back idea’s from Martha Graham, influencing Bruce’s technique. Brought over Glen Tetley who created dances on Rambert- inspiration for Bruce’s modern dance technique when Bruce began to emerge as a talented choreographer.
• • Martha Graham : American Influence 

  Martha Graham: contraction and release, floorwork, Expressing emotion and varied psychological states, abstract forms, themes around politics, the great depression and the war.
• • Glen Tetley : Associate of Rambert & American Influence 

  Glen Tetley: Modern dance, trained with Martha Graham. Balletic influences from Antony Tudor, combines classical and contemporary dance to great theatrical effect, Bruce played leading roles in some of his works (Pierrot Lunaire) His use of imagery to articulate the shapes and qualities he wanted, ethic was to keep on developing (find new things)
• • London Contemporary Dance Theatre : Influence, Other leading British modern dance company. 

  Robert North: Root of training was Graham, influenced by engagement with audience.

  Antony Tudor: Created dramatic works that expressed human emotions, influential for its combination of classical movement with very modern choreography, He suggested adding more set and costumes to add realism to works.
• STYLISTIC FEATURES


  Pedestrian movements•Folk dances•Contrast – e.g. stillness and intricate footwork•Ballet and Graham technique combined (Extended lines of ballet, with off-balance tilts)•Dramatic, emotional pieces with clear themes•His choreographies usually made statements about cultural, social and historical events