digitally sampled sounds, vocals, a reed pipe and popular dance rhythms
4 of 19
Unaccompaniment interludes enable
us to hear the tapping of feet
5 of 19
When the music is slow and sad the dancing is
continuous and flowing to match, like in section when the victim dances alone
6 of 19
When the music is fast and strong the dancing becomes
more dynamic like in the section when the guards manipulate the victim.
7 of 19
Where the music and dance work together
it demonstrates a direct correlation
8 of 19
The start of the dance is triggered by the sound
of the door slamming
9 of 19
In section 5 there is
no accompaniment - uses silence
10 of 19
This emphasis
the change of speed in movement, generates the atmosphere of a bleak prison cell and highlights the dramatic impact of the prisoners’ situation by the imagery of the prop (chair)
11 of 19
The silence in section 5
means that the audience can hear the sound of dancers’ movements and breath, the chair and allows the dancer to improvise and feel the mood of the dance freely.
12 of 19
In section 1 - question and answer use sounds of
tap, Claps and finger clicks are also used to heighten the intensity of the interrogation.
13 of 19
In Section 6 – The Cane Dance, carnival type music is used
to add an element of comedy and to break the tension slightly
14 of 19
Chambon uses sounds of birds
makes us think of a trapped bird in a cage, like the prisoner in the cell
15 of 19
The MOOD is communicated throughout by the use of the reed pipes and vocals
creates an eerie, un-inviting atmosphere
16 of 19
The guards ‘tango’ section music sets the RHYTHM
of movement, as well as the victims solo being slower, tired and soft.
17 of 19
The THEME of the dance is clear throughout
the synthesized accompaniment portrays the ideas of prisoner of conscience.
Comments
No comments have yet been made