GCSE
Revision Guide
2009 – 2010
Section A.
What do I need to know?
1. Personal Care
2. Nutrition
3. Warm up and cool down
4. Safe practice
5. Injuries
6. Health and Safety
Section B.
What do I need to know?
You need to be able to use examples from the professional dances you’ve seen.
1. R.A.D.S
2. Focus
3. Expressive skills of Dance – Projection, Sense of Style, Musicality,
Communication of choreographic intention.
4. Appropriate rehearsal
5. Choreographic devices
6. Exploring ideas
7. Motifs
8. Structuring a dance
Section C.
What do I need to know?
This section is on BIRDSONG!! But you need to be able to compare it to
other works as well.
1. Aural
2. Physical
3. Costume
What do I need to know for any professional works?
1. Name of the Dance
2. Choreographer
3. Company name
4. Date it was first performed
5. Accompaniment – composer and style of music
6. Costume designer and description of costumes
7. Lighting Director and style or description of lighting
8. Set designer and description of the setting
9. Dance Style(s)
10. Staging (how is it staged)
11. Number of Dancers and Gender of Dancers
12. Dance idea or concept (starting point)
13. R.A.D.S.
14. Structure of the Dance (sections)
You will need to keep watching clips of these Dances to remember details so
that you can talk about them in the exam.
You can use:
You Tube
www.matthewbournesnutcracker.com
My space
www.bgfl.org
www.brb.org.uk
www.siobhandavies.com
Section A revision.
Personal Care – Wearing clothing in layers so that you can take off or put
on clothes when you are hot or cold.
* Wearing stretchy fabrics that are better for movement – NOT JEANS!
* Wearing materials that are suitable for exercise, like breathable
fabrics so you don’t sweat as much. Loose but not baggy clothing so it is
possible for the audience to see the lines of your body.
* Clothing that covers the body so that the audience don’t get to view
your thong/cleavage/belly hanging over trousers! Also so that you don’t
get a cold back or stomach which would cool the muscles down and
possibly injure you.
* Trousers that are a suitable length so that they don’t drag on the floor
and make you slip or trip.
* Bare feet so that you can grip the floor and feel the movements that
you are making and so that you are fully in control of your actions.
* No belts, jewellery or trousers with zips on, so that you don’t land on
any of these things and injure yourself, or you partner doesn’t get hooked
onto anything and injure themselves or you. I.e performing a lift and
catching your partners earring and ripping it out when being put back
down.
* Tie your hair back so that it doesn’t cover your face and restrict your
view or cover any of the lines of your body so the examiner can’t see what
you are doing.
Nutrition – You need energy, strong bones, flexible joints and muscles and
lungs that work efficiently to be a good dancer.
* You should eat fruit and vegetables, carbohydrates such as pasta and
potatoes, dairy products such as milk and cheese, protein which is meat,
fish, eggs, and also some fat such as biscuits to ensure you eat a healthy
balanced diet.
* Muscles need energy which comes from food. Food is converted to
glucose (sugar). Muscles also need plenty of oxygen. Glucose and oxygen
are carried to the muscles through the blood stream.
* It is very important for a dancer to be hydrated. When we work hard
we sweat. We lose lots of water as well as salts as we heat up and sweat
and our body needs this to function, so it is very important to replace
them. If we don’t, lactic acid builds up and we can get cramps. If you
start to feel thirsty then this is a sign that you need more water as you
are already dehydrated.
Warm up and cool down – A warm up is not the same thing as feeling
warm. So wearing extra clothes alone won’t help. A proper warm up
prepares the body and focuses the mind so you are ready for activity. You
warm up for three reasons, 1. To reduce the possibility of injury.
(DO NOT write “So I don’t pull a muscle”!!!)
2. To improve performance,
3. To prepare psychologically.
* A good warm up gradually raises body temperature and your heart rate
and this makes more blood go to the muscles.
* More blood in the muscles gets them warmer and that also makes the
muscle more flexible. You are less likely to have a sprain or strain if you
do this.
* There are 3 stages to an effective warm up. The first is a gentle pulse
raising activity which increases body temperature, the second is joint
mobility like swinging parts of the body. The third is flexibility which is
the stretching of all the main muscle groups. Stretches should be held
for 6-8 seconds.
* It is also important to cool down. This allows the heart to gradually
return to normal, it also helps prevent the build up of waste products like
lactic acid in the muscles.
Safe practice – Making sure that your body is prepared for the demands
you are going to put on it and the ability to keep yourself safe and to
work safely with others.
* Landing correctly after any elevation. This is the idea of making sure
that you bend your knees when you land after and jump. The knees act as
shock absorbers to stop your body from getting injured from the impact
on the floor.
* You need to have good vision so that you don’t bump into others when
you are performing together.
* Only use lifts that you have been taught to complete safely, and never
lift someone if you or they feel uncomfortable with what you are doing.
Injuries – At some point a dancer might get injured. If it happens it is
important that you know what to do. If you suspect a broken bone you
would go to hospital, but if the injury was a sprain or strain you could use
R.I.C.E.
Rest – stop the activity
Ice – apply ice for 10 minutes at intervals for 24 hours to reduce pain and
swelling.
Compression – apply a bandage to help to control any swelling.
Elevation – raise the injury and keep it raised for 24 hours. This will
improve any drainage of fluid at the injured point and reduce blood flow
to the area which.
Health and Safety – Making sure that your rehearsal space is safe.
* Is the studio big enough for all the dancers and can they work without
bumping into each other?
* Is the space high enough to be able to lift without bumping your head or
touching the ceiling?
*Are there any obstructions like pillars and have they been made obvious
so that you can avoid them? I.e are they padded or painted illuminous?
* Are there any other obstructions that could be dangerous? Chairs,
furniture or props should be moved and stored safely.
* Is the floor surface appropriate? It should be splinter free, clean, not
too slippery and with a little bit of spring or bounce in it.
* Is the temperature right? It should be about 21 degrees. Below 18
degrees is too cold to dance in, and in the Summer it should be ventilated
so it does not get too hot or dehydrate you.
* Is the studio well lit?
* Are there mirrors made from safety glass?
* Are there any trailing wires or mats or things that could cause a
hazard?
Revision Questions –
1.What is lactic acid? 2.Why is a cool down important? 3.What is R.I.C.E?
Section B revision.
R.A.D.S –
Relationships – the way that you Dance with other people.
* A solo has a very different effect to dancing in a big group in the stage.
You can move towards something, away from it, on to something or off it,
under it or over it.
* As an example, a prop is used in Swansong (the chair) all the dancers use
the chair and move around it, over it, away from it and towards it, so this
shows a significant relationship with the prop.
* If you were working in a duet your could show relationships through
mirroring, complementing each other, contrasting, meeting and parting,
leading and following, copying and finally moving over, under, through or
around.
* In a group you could also show relationships through unison, canon (one
after the other), accumulation, formations and numerical variations (changing
a phrase through numbers).
* You can also show relationships very well through contact with your other
dancers. Pushing, pulling, turning, lifting, falling and catching all show
different relationships and ideas. Pushing your partner away could show that
you are angry with them for example.
Actions – Actions are what the body is doing.
* There are 5 main groups of actions. JUMP, TURN, GESTURE, TRAVEL
AND STILLNESS.
* A jump describes the action of rising into the air using the muscles in the
feet and legs. Jumps can be varied for example taking off on one foot and
landing on two, or taking off on two feet and landing on one.
* You can vary the shape of the jump for example tuck or star jump. You can
also vary the height or length of a jump.
* A turn is the way that you move around or rotate. You can turn by twisting,
curling, spinning, pivoting or twirling.
* Travelling means moving from one place to another. There are many ways
of travelling such as walking, sliding, crawling, running etc.
* Stillness, is when the body is not moving. It is held in a certain position. It
can be dynamic, so only held for about a second, or it can be a position that is
held for a lot longer. Ideas of stillnesses are balancing, holding, suspending
through the air, freezing or pausing.
* A gesture is an action that does not involve transferring weight from one
body part to another. Nodding your head is an example of a gesture, or a
punch, a pose that is telling a story. Think of magazine model poses.
* Actions can be performed by the whole body or parts of the body. For
example, the whole body could twist a full circle, or you could just twist your
head in a circle.
* Actions are on the sheet you have been given, but you need to group them
into the 5 main groups.
Dynamics – Dynamics are how the body is moving, so the speed that it moves
at the energy you put into it and the flow of the movement.
* Dynamics tend to be described. Examples are heavy, soft, strong, slow,
smooth, controlled, sharp, wavy, etc.
* Dynamics add interest and variety to a dance and can help to show the
dance idea, mood or atmosphere clearly.
Space – the space is where the body is moving.
* It can be where a dancer is in the space or where they move in space.
* It can be the direction or pathway that the dancer moves in, the direction
the dancer faces, the level that the dancer is on, or the size or shape of a
movement.
* The stage space can be where the dancer is placed on the stage for
example, stage left or upstage. TASK: Draw a picture of a stage and label it
to remind you of the names of the areas.
* Words that describe space are large, small, medium, low, high, near, far,
up, down, diagonal, etc.
*All the Relationships, Actions, Dynamics and Spaces are described on
the A4 sheet that you have that is divided into 4 sections.*
Expressive skill of Dance Focus - This is about where the dancer focuses at different points in the
Dance.
Projection – this is about the energy and power of the performance and the
way you communicate with the audience. How you project your ideas to the
audience.
Sense of Style – this is about the dancer trying to show the distinctive
actions and qualities of a dance.
Musicality – this is all about communicating an inner feeling for the music.
The relationship that you have with the music.
Communication of choreographic intention – this is about you understanding
the mood and meaning of the dance and communicating the feeling to the
audience.
Appropriate rehearsal – You need to practise a dance to understand and
learn the content of it. If you keep going over the same section constantly
you will learn bad habits and get bored easily.
* To rehearse well, you should try joining a partner to evaluate each other
and feedback to each other. You can watch your classmates to feedback.
* You can use mental rehearsal. Where you run through the dance in your
head to remember the movements.
* You can use mirrors for instant feedback.
* Set yourself targets to work towards.
* Get feedback from a teacher.
* Rehearse in front of an audience as often as possible to get used to a
proper performance setting.
* Video your work and watch it back.
Choreographic devices – these give the dance more interest. You should use
a range of devices.
Repetition – a simple device where you repeat sections or parts of motifs. It
helps the audience remember important movements.
Contrast – where you add something completely different to the motif and
material you have used so far. If your dance is slow and smooth you could
add a fast, sharp, travelling section which is in complete contrast.
Highlights – these are the important moments. Where you draw the
audiences attention to specific movements. Highlights are used a lot in
Christopher Bruce’s Ghost Dances. The music and movement appear to
build up towards the end of each section as the ghosts appear. This adds
real excitement and atmosphere to the dance. The ghosts then lift the
dancers as the music stops suddenly. This shows the audience that death
has taken place – the message of the dance.
Beginning and end – it is important to get the audiences attention by having
an interesting beginning and end.
Climax – the high point of the dance. This could include an element of
surprise for the audience. Siobhan Davies uses climax in an interesting
way in Birdsong. Birdsong was built around the central solo. This was
choreographed first and then the other sections came afterwards.
Davies uses the music, and she makes it quieter and quieter as the
dance gets closer to the central solo to show the audience that
something important is about to happen.
Exploring ideas – this is where the idea for the dance comes from. Usually a
stimulus is found. This is something that inspires you to make the dance, like
movement, sound, images or words.
* In Christopher Bruce’s Ghost Dances, Bruce’s stimulus was the music of
South American rituals and culture. Siobhan Davies used the call of the pied
butcher bird and the central solo in Birdsong.
Motifs – This is a movement or phrase of movements that show the main
content of the dance. It consists of actions and has a specific dynamic and
space that it uses.
* Motifs are important because they can be repeated and varied to help
structure and organise the dance. They are also helpful to the audience as
they show the main idea of the dance.
* The central solo of Birdsong has a key motif that is repeated and
developed. It consists of the torso arching and the arms lifting above
the head as if the lungs are expanding. (A bit like a bird.)
Structuring a dance – This is the way that the dance runs. A bit like the
chapters in a story, if it has chapters!
* You can create a dance in
Binary form which is where it has 2 sections.
Ternary form which is in 3 sections, A B A.
Episodic which has several sections linked by a theme.
Section C revision
Aural – This is the sound that is used to accompany the dance. It can be
music, drumming, everyday or natural found sound and also the voice.
* Some choreographers use songs in the dance, like Christopher Bruce in
Ghost Dances uses South American folk songs. In works such as Matthew
Bourne’s Nutcracker! Classical music by Tchaikovsky is used to
complement the style of the dance. Still life at the Penguin Cafe uses
orchestral music
* Sometimes silence is used. This way you can hear the dancer breathing
and moving. This is used in Christopher Bruce’s Swansong. The tap dance
begins in silence and you can hear the echoing of the feet tapping on the
hard ground. This suggests an interrogation of the prisoner.
* Also natural sound can be used. Birdsong uses this idea and creates an
accompaniment which is a mixture of different sounds and noises
matched together to create an atmosphere and rhythm to dance to. This
creates a mood and helps the audience to understand. Ghost Dances also
uses the natural sound of the wind.
Physical setting – Dance can be performed in many different settings
such as in a theatre, or outside on a beach. Choreographers use different
features to make their setting look better. They can use lighting, props,
or projections onto the background or floor.
* The set can be very different, for example, Still life at the Penguin
Cafe has backdrops which show the natural habitat (home) of each of
the animals included. Swansong, uses a dark and dingy backdrop which
adds to the depressive nature of the cell of the prisoner.
* The lighting can flood the stage with colour, or focus on a particular
part of the stage. Lighting can also be used to highlight key moments or
climaxes. At the end of each section of Ghost Dances a bright
yellow/green light appears and this along with the stillness of the
dancers and silence of the accompaniment (music) tells the audience a life
has been taken.
* Projected images can be used with good effect. In Birdsong, lots of
moving dots are projected onto the floor in section 1 (Snake). This is a
special effect that was created from a film of birds flying that had a
grid placed over the top of it to make a flickering effect.
* Props can add a meaning to a dance and they can be moved and carried
around the stage. In Matthew Bourne’s Nutcracker! The orphans use
skipping ropes and hoops to dance with to show their playful nature,
but also to show how restricted they are. In Swansong the guards use
canes. They lean on them and jump over them, but they also use them to
beat the prisoner.
* Another part of the physical setting is the performing space. There are
4 different types of space.
1. On a stage which is called Proscenium. Mainly used in classical ballet.
The audience all face the stage. There are wings in the stage so that
the dancers can exit and enter. An example of proscenium is Matthew
Bourne’s Nutcracker!
2. Cyclorama which is when a large curtain is placed at the back of the
stage, and it has a scene projected onto it. An example is in
Christopher Bruce’s Ghost Dances. The backdrop has a large
landscape printed on to it. This suggests that the dance is set in a
cave.
3. In – the – round is used by some choreographers. This is when you
have a square stage and the audience is sat around the space on all 4
sides. An example of this is Siobhan Davies’ Birdsong.
4. Site Specific is a dance that happens in a real space, indoors or
outdoors. The dance piece that you haven’t seen, but that is site
specific, is Rosas Danst Rosas, which was filmed in different parts of
an empty school.
Costume – the costumes that a choreographer chooses can help the
dancer get into character and the audience to make sense of the work.
* Masks can make a theme clear, like in Still life at the Penguin Cafe.
The dancers wear masks that are either full or half face and in the
style of the animal. The ghost characters in Ghost Dances wear
skeleton masks showing that they are creepy and inhuman.
* The colour of costumes can help to highlight characters. In
Birdsong, dancers have neon strips on their costumes. In Swansong,
khaki is used to show military costume and the prisoner’s red t shirt
shows blood. The outfits in Nutcracker! Change from grey and black in
the first half which shows the depressing orphanage, to multi coloured
in the second half to show ‘Sweetieland’. There are specific costumes
such as the Licorice Allsorts which show licorice allsort sweets which
make it easier to know who they are.
Revision Questions –
What is a proscenium arch?
How can costumes help us to understand a dance – give 3 examples.
What does in – the – round mean?
Name 2 dance works with different accompaniment and describe the
accompaniment.
How can a backdrop contribute to a dance piece?
This is not everything that you will need to know for the
exam, but it is a basic outline. You will need to further
research anything that you are unsure of. We will also
be learning these things in the 6 months you still have
before your exams.
For more exam style questions go to: www.aqa.org.uk and
search GCSE Performing Arts Dance. There are exam
papers and mark sheets from 5 exams.
Fact file 1 – Birdsong
Name of the Dance - Birdsong
Choreographer – Siobhan Davies
Company name – Siobhan Davies Dance Company
Date it was first performed – April 2004
Accompaniment – Andy Pink, a collage of natural and found sound. Digital samples,
classical and jazz music, silence.
Costume designer – Genevieve Bennett, vests and loose trousers in whites, blues and
greys with some lemon. These adapt to the lighting shone onto them.
Lighting Director – Adrian Plaut, video projection is used as a light source and creates
patterns and textures on the floor. Lights set above the audience illuminate the stage
and dancers.
Set designer – Sam Collins, patterns and effects projected onto the floor.
Dance Style(s) – Contemporary.
Staging – In the round.
Number of Dancers and Gender of Dancers – 5 women and 3 men.
Dance idea or concept – Movement responding to sounds. Inner rhythms. Territory and
signals. Started from the idea of the call of the pied butcher bird. Also started with
the central solo and everything was choreographed outwards from that.
Structure of the Dance – There are 16 sections. The central solo was choreographed
first. Most of the sections from 1-8 are repeated in the second half 9-16 but in reverse
order.
What relationships, actions, dynamics or space are used?
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Fact file 2 – Ghost Dances
Name of the Dance – Ghost Dances
Choreographer – Christopher Bruce
Company name – Houston Ballet Company
Date it was first performed – 1981
Accompaniment – South American songs and folk tunes by Inti Illamani and wind effects.
Costume designer –Belinda Scarlett, Ghosts have skull like masks and bodies painted to
suggest bones and muscles. They wear wigs and rags. The Dead wear gender specific
everyday clothing suggesting different walks of life. Each of the dead wears a totally
different costume.
Lighting Director – Nick Chelton, Gloomy and shadowy, side lighting highlights the
ghosts. Brighter light for folk type dances performed by the Dead. Lighting changes
signify deaths.
Set designer – Christopher Bruce, The painted backdrop represents a rocky plain and
cave opening. Water and mountains in the distance, rocks on the stage.
Dance Style(s) – A blend of contemporary and ballet with some folk and social styles.
Staging - Proscenium
Number of Dancers and Gender of Dancers – 5 women and 6 men.
Dance idea or concept – Political oppression in Chile. The music of South America and
South American rituals and culture also influenced the idea.
Structure of the Dance – There are 7 sections each has a different piece of music or
song.
What relationships, actions, dynamics or space are used?
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Fact file 3 – Nutcracker!
Name of the Dance – Nutcracker!
Choreographer – Matthew Bourne
Company name – Adventures in Motion Pictures
Date it was first performed – August 1992
Accompaniment – Tchaikovsky, classical and orchestral. Composed in 1982 for the
original ballet performance.
Costume designer – Anthony Ward, colourful and over the top to show characters.
Cultural references (Licorice allsorts have Spanish influence) and literal references to
sweets (Knickerbocker glory has whipped cream topped with a cherry shoulders!).
Lighting Director – Howard Harrison, theatrical lighting helps to create an atmosphere.
Set designer – Anthony Ward, partly realistic, but larger than life and almost cartoon
like. Scene 1 is a dark and dingy orphanage with iron beds. There is an interval scene on a
frozen lake and Scene 2 starts with the characters having to enter an open mouth to go
into Sweetieland. Sweetieland then has a huge 3 tiered wedding cake as the background.
Dance Style(s) – Contemporary and ballet. Exagerated use of gesture. For example, when
the characters lick themselves or each other as if they were a sweet.
Staging – Proscenium
Number of Dancers and Gender of Dancers – 24 dancers.
Dance idea or concept – A reworking of an original ballet. Adding a comedy edge to the
narrative (story). The Nutcracker story is retold with references to growing into an
adult, escaping real life and fantasy.
Structure of the Dance – There are 2 acts, and 9 episodes within the 2 acts.
What relationships, actions, dynamics or space are used?
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Fact file 4 – Swansong
Name of the Dance - Swansong
Choreographer – Christopher Bruce
Company name – Various, but Rambert is a main one.
Date it was first performed – November 1987
Accompaniment – Philip Chambon, electro-acoustic with digitally sampled sounds, vocals,
a reed pipe and popular dance rhythms. Unaccompanied parts allow us to listen to the
rhythm of the dancers feet on the floor.
Costume designer – Christopher Bruce, everyday clothes associated with roles. Uniforms
for the interrogators and jeans and t shirt for the victim.
Lighting Director – David Mohr, overhead lighting and a diagonal shaft of light to
suggest natural light from upstage left. Footlights create shadows. The lighting is very
atmospheric.
Set designer – Christopher Bruce, a bare stage apart from a chair, suggests a cell. The
interrogators always exit stage right – this could be where the door to the cell is. The
chair has many purposes and is used symbolically as a weapon, a shield and shackles (like
hand cuffs). Props include canes for the guards, and a red nose which is used to degrade
the prisoner.
Dance Style(s) – Contemporary with physical contact and some ballet movements. Tap
dance.
Staging – Proscenium
Number of Dancers and Gender of Dancers – 3 men
Dance idea or concept – From the work that Amnesty International do and the
experiences of Chilean poet Victor Jara. Amnesty International help foreign people who
have been put in prison abroad. Human Rights.
Structure of the Dance – Introduction followed by 7 sections. Victim is always on stage.
What relationships, actions, dynamics or space are used?
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Fact file 5 – Still Life at the Penguin Cafe
Name of the Dance – Still Life at the Penguin Cafe
Choreographer – David Bintley
Company name – The Royal Ballet
Date it was first performed – March 1988
Accompaniment – Simon Jeffes, Penguin Cafe Orchestra, orchestral music with classical,
rock and country influences.
Costume designer – Hayden Griffiths, combines animal and human characteristics in a
dream like way. Masks and headdresses have animal features such as curly horns and
antennae. Cultural and social references. The Hog Nosed Skunk Rat has a large mouse
like mask, and also wear a check shirt and dungarees to make him more human.
Lighting Director – John B Read, lighting indicates the beginning and end of an act.
Colour is used to enhance the mood, it is bright in the first half but becomes dark and
dramatic towards the end.
Set designer – Hayden Griffiths, set in a cafe with chairs and tables for the audience.
After the opening scene in the cafe, the rest of the dances take place on stage. There
are colourful backdrops which show you the environment.
Dance Style(s) – Modern ballet with different social and cultural styles to suggest
different locations around the world. English Morris Dancing, Latin American carnival,
African dance.
Staging – Proscenium
Number of Dancers and Gender of Dancers – 9 solo dancers and a corps de ballet.
Dance idea or concept – Political and trying to inform about endangered species. Inspired
by the music and the “Doomsday Book of Animals”.
Structure of the Dance – Introduction followed by 8 scenes.
What relationships, actions, dynamics or space are used?
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Is there anything else that I might need to know?
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