LEARNING OBJECTIVES •To gain knowledge and understanding of Section C of the written examination. •To analyse the use of costume in Bird Song and four other professional works. Homework • Create a mind map that will act as a revision guide/ essay plan for the Section C costume essay. • Practise writing your essay on costume • Revise in preparation for writing an essay on costume in your next lesson. SECTION C • ESSAY QUESTION 20 MARKS • FOCUS: COSTUME POSSIBLE ESSAY QUESTIONS 1) Explain the ways in which the use of costume can contribute to the understanding and appreciation of dance works. You should make reference to ‘Bird Song’ and four other Dance works in your answer. 2) What should be considered when choosing costumes for dance works? You should make reference to ‘Bird Song’ and four other Dance works in your answer. The four professional works • PETROUCHKA’ (1911) CHOREOGRAPHED BY MICHEL FOKINE • CROSS CHANNEL’ (1992) CHOREOGRAPHED BY LEA ANDERSON • GHOST DANCES’ (1981) CHOREOGRAPHED BY CHRISTOPHER BRUCE • ‘SWANSONG’ (1987) CHOREOGRAPHED BY CHRISTOPHER BRUCE HOW DOES COSTUME CONTRIBUTE? REALISTIC COSTUME DEPICTS GEOGRAPHICAL LOCATION COSTUME RESTRICTS MOVEMENT DEPICTS AN EVENT/OCCASION ABSRACT COSTUME EMPHASISES BODY ALIGNMENT EMPHASISES AND HIGHLIGHTS CERTAIN MOVEMENT DEPICTS SETTING/LOCATION DEPICTS ERA DISTINGUISHES GENDER TO ENHANCE FLOW CONTRASTING COSTUME TO DISTINGUISH DIFFERENT CHARACTERS USE OF COLOUR USE OF MASKS PORTRAYS THE STYLE TO DISTINGUISH SOCIAL STATUS USING THE COSTUME WITHIN THE CHOREOGRAPHY ‘BIRD SONG’ (2004) CHOREOGRAPHED BY SIOBHAN DAVIES COSTUME DESIGN TYPE OF COSTUME BRIEF DESCRIPTION OF COSTUME AND HOW IT PORTRAYS DANCE IDEA OR AFFECTS CHOREOGRAPHY ABSRACT COSTUME Costume is simple and has no meaning. Davies does not want the costume to distract from the movement content EMPHASISES BODY Costume defines the shape of the dancers bodies ALIGNMENT emphasising body alignment. EMPHASISES AND HIGHLIGHTS CERTAIN MOVEMENTS Davies deliberately chose vests and sleeveless tunics to emphasise and highlight arm gestures. ‘PETROUCHKA’ (1911) CHOREOGRAPHED BY MICHEL FOKINE • Stimulus: This ballet is set in Admiralty Square, St Petersburg, Russia during the Butter Week Fair in 1830. A Magician brings three puppets to life and the dance explores their relationship with each other. ‘PETROUCHKA’ (1911) CHOREOGRAPHED BY MICHEL FOKINE COSTUME DESIGN TYPE OF COSTUME REALISTIC COSTUME DEPICTS GEOGRAPHICAL LOCATION COSTUME RESTRICTS MOVEMENT BRIEF DESCRIPTION OF COSTUME AND HOW IT PORTRAYS DANCE IDEA OR AFFECTS CHOREOGRAPHY Costume is realistic, typical of Russian traditional dress in 1830. Detailed, textured costume has lots of layers depicting geographic location as it reflects the cold Russian climate Lots of layers make the costume heavy therefore restricting movement. Costume depicts an event: The Butter Week Fair. DEPICTS AN The celebratory occasion is reflected in the EVENT/OCCASION traditional, elaborate, smart costume. ‘CROSS CHANNEL’ (1992) CHOREOGRAPHED BY LEA ANDERSON • Stimulus: This Dance is about a journey from London to Calais across the channel. The Dance is filmed on location. ‘CROSS CHANNEL’ (1992) CHOREOGRAPHED BY LEA ANDERSON COSTUME DESIGN TYPE OF COSTUME BRIEF DESCRIPTION OF COSTUME AND HOW IT PORTRAYS DANCE IDEA OR AFFECTS CHOREOGRAPHY Anderson associated the dancers costume with leisure DEPICTS SETTING/LOCATIO time and work. The Men wore cycling outfits when cycling to Dover and orange boiler suits when leading N cars onto the ferry. The women wore swimming costumes in the beach scenes. DEPICTS ERA DISTINGUISHES GENDER TO ENHANCE FLOW Anderson depicts the 1950’s through the women’s dresses and bathing suits which are clearly a recognition of fashion in this era. The costumes are stereotypical the men wear suits to show masculinity and the women wear dresses to show femininity. The dresses worn by the women in the corridor motif add flow to the movements when the dancers are turning ‘SWANSONG’ (1987) CHOREOGRAPHED BY CHRISTOPHER BRUCE • Stimulus: This dance is based on the Chilean situation in the 1970,s where General Pinochet’s regime was responsible for the murder and torture of thousands of innocent people. The dance is a trio, two dancers represent the Pinochet guards and the other dancer is their victim. Throughout the dance the guards intimidate and interrogate the innocent victim. ‘SWANSONG’ (1987) CHOREOGRAPHED BY CHRISTOPHER BRUCE COSTUME DESIGN TYPE OF COSTUME CONTRASTING COSTUME TO DISTINGUISH DIFFERENT CHARACTERS USE OF COLOUR BRIEF DESCRIPTION OF COSTUME AND HOW IT PORTRAYS DANCE IDEA OR AFFECTS CHOREOGRAPHY Bruce uses the costume to distinguish characters. The military style uniform defines the guards and the civilian, casual everyday clothes of pink T-shirt and jeans show the victim. The use of colour is important as the audience associates green/khaki with the military ‘GHOST DANCES’ (1981) CHOREOGRAPHED BY CHRISTOPHER BRUCE • Stimulus: This Dance is also based on the Chilean situation in the 1970,s.There are three ghosts who represent the Pinochet regime and the other dancers represent the innocent villagers. ‘GHOST DANCES’ (1981) CHOREOGRAPHED BY CHRISTOPHER BRUCE COSTUME DESIGN TYPE OF COSTUME BRIEF DESCRIPTION OF COSTUME AND HOW IT PORTRAYS DANCE IDEA OR AFFECTS CHOREOGRAPHY USE OF MASKS The three ghosts wear masks. The skull masks have hollow eyes, no flesh and exaggerated teeth. The masks are used to enhance the costume and make more impact, The long straggling hair emphasises the jerky isolated head movement. Bruce uses masks to represent death and the Pinochet regime. PORTRAYS THE STYLE The use of skirt from side to side also emphasises the folk dance style. TO DISTINGUISH SOCIAL STATUS The different costume of the people show different social classes the rich people wear suits the poor people wear rags. USING THE The women swish their skirts from side to side. The COSTUME WITHIN flowing material of the skirt really helps emphasise THE the movement content. CHOREOGRAPHY