DANCE 7–10 unit
SWANSONG
Core practices: Composition, Performance, Appreciation
Length of unit: 7-10 weeks
Stage of unit: Stage 5 (Years 10)
Content area: Additional content 1
Aims of the unit of work: The work Swansong is used to develop artistic knowledge and aesthetic appreciation of how a
work is conceived and crafted to engage an audience. It aims to develop students' ability to apply dance technique and
performance quality to the performance of a work. It aims to broaden their understanding of the compositional process and
develop their personal choreographic style. Through the study of the Swansong, students will develop the ability to make
connections between the process of Christopher Bruce and their own.
OVERVIEW OF SESSION 1
Students discuss the concept of choreographic inspiration. They examine Christopher Bruce’ sources of inspiration for the
work Swansong. They discuss the use of movement in the introduction and begin tap technique as an introduction to
understanding the work.
OVERVIEW OF SESSION 2
Students learn about popular dance forms (tap, contemporary, ballet) and choice of movement content and the concept of
fusion of styles. Students explore the choreographic devise of Question & Answer (call and response) in Sections 1,
between 1 & 2 and 2 & 3 and Section 6 of the work.
OVERVIEW OF SESSION 3
Students research the techniques employed in Commedia dell' Arte and discuss and explore the various ways in which
Bruce utilises the traditional methods in developing the narrative of Swansong. They continue the development of tap
technique and incorporate it into their own work.
OVERVIEW OF SESSION 4
Students explore the chair and how it is used as part of the choreography. They explore the communication of ideas using
symbols i.e. use of the chair, motif, lighting, costumes. They continue the development of tap technique and incorporate it
into their own work.
OVERVIEW OF SESSION 5
Students explore the movement characteristics of lifting, pulling, pushing and balancing. They explore ways to use three
people to lift, support and manipulate their body weight. View section 4 for use of canon, mirroring and unison. Students
include the fusion of styles in their composition tasks.
OVERVIEW OF SESSION 6
Students analyse how the choreographer has used dynamics to aid in the communication of the intent and emotive quality.
They explore the use of symbolism to suggest contrasting ideas of trapped, flight and escape in the solo and group
sections (3, 5, and 7 with 2, 4 and 6). They continue to develop their work based on a theme.
OVERVIEW OF SESSION 7
Students examine the design features (costuming, set, lighting and choice of music) of Swansong. They continue to
develop their work incorporating design elements.
DANCE 7-10 SUPPORT, CURRICULUM K-12
Outcome 5.1.1: A student demonstrates an
understanding of safe dance practice and appropriate
dance technique with increasing skill and complexity in
the performance of combinations, sequences and
dances.
Additional content 1
 perform dance skills of increasing complexity with
control and consistency
 acquiring dance technique and performance skill
Additional content 1
 perform dances with increasing confidence,
communicating the intention of the choreographer
 how dance technique and the elements of dance
are influenced by the concept/intent of the
choreographer
 apply dance technique to the performance of a
variety of dance styles
 how dance technique and the elements of dance
are influenced by performance, choreographic or
theatrical style
 perform dance with an awareness of quality and
clarity of line
 the application of technique and performance
quality to realise an interpretation in a dance
Outcome 5.1.3: A student demonstrates an
understanding and application of aspects of
performance quality and interpretation through
performance
Outcome 5.2.1: A student explores the elements of
dance as the basis of the communication of ideas.
Outcome 5.2.2: A student composes and structures
dance movement that communicates an idea
Outcome 5.3.1: A student describes and analyses
dances as the communication of ideas within a context
Outcome 5.3.3: A student applies understandings and
experiences drawn from their own work and dance
works of art
Additional content 1
 explore, improvise, select and perform movement
based on specific ideas
 the process of dance composition: improvisation,
selection and refinement, using stimulus
Additional content 1
 manipulate movement using the elements of dance
to create sequences and phrases
 how movement can be manipulated to create
movement based on an idea
 identify and develop movement motifs to
communicate an idea
 organising movement into motifs
 organise movement into sequences
 the elements of construction that contribute to the
unity of a dance
Additional content 1
 identify and describe the context of a dance
 use of technologies, including the internet, to
facilitate dance-related research
 how dance is a reflection of the society from which it
emerges, including other cultures
 the influences on a choreographer in the creation of
a work
Additional content 1
 describe their own dance performance and
compositions through the analysis of dance works
of art
 assess their own dance performances
 the distinctive ways in which they can express their
own ideas and experiences
 personal, social and cultural differences
 self-analysis as a tool to develop dance technique,
DANCE 7-10 SUPPORT, CURRICULUM K-12
performance quality and a personal choreographic
style
Integrated learning experiences
Evidence of learning
S E S S IO N 1
Students view the work Swansong for initial impressions
and describe their reading of the work.
View the opening scene and complete the prologue
workbook and discuss in relation to:
 what the opening scene suggests to them
 how and why they think the choreographer uses tap
steps in the scene
 how does the choreographer’s techniques help to
portray a theme
Define the title Swansong using the dictionary.
Locate information where the choreographer recounts their
purpose for creating the work
Read the handout Creation of Swansong: Sources of
Inspiration and discuss what are the main sources of
inspiration in the creation of the work. Include discussion on:
 if the work was the reaction to any event, person, idea
or issue from the period in which it was created
In patterns (circles, triangles, squares and oblongs) walk
with the heel leading the ball of the foot first, followed by
walking with the ball of the foot first leading the heel.
Straight taps with barre, 6 straight taps and 3 steps to turn
to the other side
Straight taps without barre, starting with the right leg. 3 taps,
feet together, repeat on the left leg
5.1.1
Physical demonstration of appropriate tap body skills and
basic time signatures
Recall and safely execute tap movements
Perform non-locomotor and locomotor movements with
correct foot, ankle and knee alignment
Display agility, upper and lower body coordination
5.1.3
Move with an increasing level of control of time and
dynamics
Perform movement in the tap style
Use appropriate body and arm alignment
5.2.1
Select and refine a movement combination
5.2.2
5.3.1
Describes how Bruce has been influenced by other cultures
in the creation of Swansong
Draws links between Amnesty International and Swansong
Recounts Bruce’s career
5.3.3
Draw connections between Bruce’s use of tap work and
their own skill development
Oral and written personal responses in a journal describing
the social and cultural aspects of Swansong
Forward tap, tapping foot forward on the floor. 6 then 3
steps to turn, 3 then feet together.
Backward tap tapping foot backwards on the floor. Finish
tap with foot parallel to the floor beside supporting foot.
Shuffle combining forward and backward tap
Toe digs tapping the toe behind the body.
Heel digs tapping the heel in front of the body
Students develop combinations incorporating shuffle steps
with stamp, stamp on the left and right foot. Include the tap
skills from the lesson.
DANCE 7-10 SUPPORT, CURRICULUM K-12
Resources
Language
Video Swansong
Swansong
Inspiration
Interpretation
Collage
Narrative
Amnesty International
Interrogation
Repressive regime
Dictatorship
Carte blanche
Literary source
Autobiographical
Masochistic
Commedia dell’arte
Duet
Prologue workbook
Handout Creation of Swansong: Sources of
Inspiration
Dictionary
Strategies for implementing Dance 7-10
Part 2 Musical Theatre Tap extension
Musical accompaniment for tap dance
Oblongs
Barre
Straight taps
Forward tap
Backward tap Shuffle
Toe digs
Heel digs
Stamp
Prologue
Represent
Mimed
Extract
Mood
Contrast
DANCE 7-10 SUPPORT, CURRICULUM K-12
Integrated learning experiences
Evidence of learning
S E S S IO N 2
Teacher directed warm-up focusing the activities on:
 bent limbs
 curled/ closed body
 the stretching and reaching of the arms and legs
Begin on the floor in frog-sit. Progress into parallel sit and lying on
the back and stomach.
Progress into centre work. Develop the movement through use of
demi plie, rolling down and up and into leg extensions and
brushes.
Extend the warm-up sequence to incorporate an off-centre use of
the torso.
Teach a parallel balance sequence (i.e. arabesque and attitudes)
in combination of non-locomotor and locomotor movements with
arms.
Develop the sequence to include spiralling through the back. Use
the torso to generate a swinging action of the limbs. Using a low
and the off-centred use of the torso, drop the limbs to pull the
body around.
Watch section 1 and 3 of Swansong.
Identify and discuss Christopher Bruce’s use of elements from
both genres of ballet and modern dance. Include in the discussion
his use of:
 centre of gravity
 weight into the floor
 deep plies
 strong back and off-balance positions
 arabesque and attitudes
 gestures of the outstretched arms
 reaching up and curving down
 circling gestures
 twisted body
Compare Sections 1 and 3 to Section 7. Discuss the use of:
 the bending over and outstretched arms at the beginning
 arabesques, jumps and arm gestures
 the repetition of movement content
 the lyrical elements rather than the twisted and tortured
movements
5.1.1
Control of the weight bearing body parts
Maintain a rhythm
Perform with correct placement of hip and
supporting/ working leg in off-centre movement
Moves with a sense of awareness and
coordination of two or more body parts
simultaneously
5.1.3
Perform with a strong posture.
Using the body to express feelings and ideas
in movement
Control of the weight and force of the
movement
5.2.1
Maintain a rhythm with a partner in question
and answer sequences
Apply knowledge of dynamics in their own
work
5.2.2
Apply the elements of dance to movement
sequences
Perform question and answer sequences with
intent
5.3.1
Describes the use of dance styles and style
related movement within the work
Explains the significance of Bruce’s movement
selection
5.3.3
Outlines how Bruce has used movement to
characterise the dancers.
Assess how others have used movement and
the elements of dance in their own
compositions
Evaluate the use of movement to communicate
ideas.
Interpret the meaning and significance of the movement choices.
Discuss the concept of the fusion of styles.
In groups of three

Ask students to explore the movement potential of the words
DANCE 7-10 SUPPORT, CURRICULUM K-12
tilt, stretch, contract, roll and slide. Consider the styles of
classical and modern contemporary.
 Create a sequence of movement from your improvisation,
vary for the group of three using the element of space.
Introduce the concept of question and answer or call and
response. View before Section 2 and 3 of Swansong. Discuss
how the interrogators tap out questions and how the victim
responds.
Revise the tap movement from Lesson 1.
With your group of three, explore the idea of question and answer
using the rhythmic and percussive elements of tap, contemporary
and/or balletic learned movement content. Take it in turns to be
the questioner. Incorporate this question and answer into your
original phrases, beginning to establish the roles of guards and
the victim.
Identify the different gestures, body shapes and use of rhythm
employed to create either a question or answer.
Record in the journal:
 How successful is question and answer in suggesting a
conversation through movement?
Resources
Question and answer synopsis
Characteristics of style worksheet
Language
Frog-sit
Parallel
Demi plie
Arabesque
Attitudes
Lyrical
Leg extensions
brushes
Off-centre
Spiralling
Genres
Fusion of styles.
Question and answer
DANCE 7-10 SUPPORT, CURRICULUM K-12
Integrated learning experiences
Evidence of learning
SESSION 3
Discuss the techniques employed in Commedia dell’ Arte. Draw
attention to how Christopher Bruce frequently parallels the style of
Swansong’s presentation with that of Commedia dell’ Arte. For
eg. the use of hats instead of masks to convey character type of
the guards, use of red nose to characterise victim, serious subject
matter presented in comical manner.
View section 2, Tea for Two and ask students to comment on the
use of props. What does it suggest to them. What effect does the
Tango rhythm have during this section of the dance? What
atmosphere does this create? What roles are established in this
section? Is the prisoner’s plight heightened by the inclusion of
music hall style?
How has Bruce used Commedia to further the narrative of his
work?
Conduct a warm up concentrating on lower body movement and
articulation. Build upper body complimentary movement into the
exercises. Give the movement a musical theatre feel.
Revise tap technique, emphasising articulation of the legs and
feet.
Individually
Improvise a series of movements concentrating on lower body
movements, including:
 footwork
 rhythmic steps
 loose leg and hip movements
 sways
 rocks on toes
 small changes in weight
Work in Threes



Discuss the overall style you wish to establish in the phrase
Rework sequences into a unison dance
Take on the role of guards and add dramatic elements of
interrogation and humiliation to the sequence
 Rework the guards’ unison dance with the manipulation and
attempted escape of the prisoner.
 Include sections into the whole dance in which the prisoner is
forced to join in and echo the guards’ movements.
Journal entry: Describe how you have been able to express the
idea of interrogation, characterisation and humiliation or defeat,
through the study of Swansong.
5.1.1
Moves with correct alignment of lower limbs.
Displays coordination in locomotor and non
locomotor phrases in both tap, musical
theatre and contemporary styles
5.1.3
Physical demonstration of dance technique
applied to the performance of a variety of
dance styles. Applies dance technique and
performance quality to a variety of styles to
convey meaning.
5.2.1
Demonstrates the ability to improvise
movement, explore, select and perform
movement in response to a stimulus, which
conveys meaning.
5.2.2
Manipulates movement using the elements of
dance to create interesting, personal
responses to composition tasks. Organises
movement material into phrases and
sequences, which reflect the intent of their
work.
5.3.1
Describes how Christopher Bruce has drawn
on a range of techniques such as Commedia,
in the creation of Swansong.
5.3.3
Describes how they have expressed ideas
and developed characterization through the
study of a professional work, Swansong.
DANCE 7-10 SUPPORT, CURRICULUM K-12
Resources
Commedia dell’ Arte teacher worksheet
Video Swansong
Language
Commedia dell’ Arte
Mask
Music hall
Narrative
Echo
DANCE 7-10 SUPPORT, CURRICULUM K-12
Integrated learning experiences
Evidence of learning
SESSION 4
View section 2, referred to as Tea for Two, and discuss the use of the
simple prop, a chair, in the choreography. The use of the chair is very
suggestive and at times can be seen as symbolic. The chair plays an
increasingly active role being shifted beyond the victim’s reach, sat
on by the second interrogator who kicks out at the victim, and pulled
from under the victim as he sits down. It is as if his very foundation is
pulled out from under him when he loses the chair.

Ask students to record in their journal how the chair is used and
what it is symbolic of.
Conduct a warm up that includes floor, centre and locomotor work,
building on the exercises from week two.
Revise the tap movement from previous lessons and add complexity,
through increasing speed, adding turns or combinations of steps.
Work in Threes



1.
2.
3.
4.
Introduce a chair to the groups and ask them to find three
different shapes that suggest imprisonment. Perform the different
group shapes as freezes or tableaux.
Develop into a sequence, making the transitions from one shape
to another very slow and concentrated in pace and dynamics.
Rework the sequences created in threes from previous lessons,
again taking the roles of guards and prisoner and now
incorporate the following uses of the chair:
As a form of defence
As a form of security
As an instrument to tease, torment, torture
As a form of prison
Resources
Chairs
Video Swansong
5.1.1
Moves with a sense of awareness and
coordination.
Recalls and safely executes tap movement
with consideration of hip, knee and ankle
alignment.
Maintains rhythm and timing of sequences.
5.1.3
Performs with sound technique and
performance quality to realise an
interpretation in the dance. Utilises and
manipulates the chair to enhance meaning in
their performance.
5.2.1
Applies knowledge of time to performance of
tap and contemporary genres. Performs with
particular dynamic and pace to create
meaning.
5.2.2
Composes and performs movement utilising
a chair that conveys intent. Demonstrates
clear character development in the
composition.
5.3.1
Describes the use of the chair as a symbol in
the work. Explains the meaning behind the
use of the prop.
5.3.3
Examines Bruce’s use of the chair and
evaluates their own composition utilizing a
chair.
Language
Symbolic
Prop
Tableaux
Transition
Defence
Security
Instrument
Torment
imprisonment
DANCE 7-10 SUPPORT, CURRICULUM K-12
Integrated learning experiences
Evidence of learning
SESSION 5
Conduct a teacher led warm up that includes exercises to feel
swing, flow, sustain, fall and momentum.
Include a locomotor exercise where students run across diagonal of
room. Run as if escaping from someone, something.
Insert into the run:
1. A roll
2. A leap
3. A turn
4. A slide along the floor
Revise tap technique, building on the student’s basic vocabulary.
Work in Threes

In groups of three explore movements of push and pull, lift,
drag and roll.

In turns as leaders, use different parts of the body to lead/
guide partner to move. The leader must contact the other
person with only one part of the body and lead him/her through
a sequence of movement. Work from one leader to another,
manipulating the third dancer.

Push Example: leader pushes partner gently on the shoulder.
The direction of the impetus of the push means that the partner
falls, turns, spins or rolls on the floor.

Lift Example: leader uses different surfaces of the body to
support partner’s weight to lift off the floor. The leader contacts
his/her back to partners back and moves body down and over
to enable him/her to lift partner up.

Try to develop a use of body weight and not use of muscular
strength so that there is no strain on the body. It is important to
spend time exploring each of the movements, swapping roles
and feeling the sense of flow of body weight and trust between
partners. Try to maintain contact for as long as possible.

5.1.1
Executes a range of body skills including
tap dance with strength and control.
Demonstrates correct use of body weight
to lift and lead partner.
5.1.3
Demonstrates applied technique in a
variety of styles. Moves with control of the
dynamic.
5.2.1
Selects and refines movement to
communicate an idea through
composition. Applies knowledge of
dynamics to personalise movement.
5.2.2
Demonstrates sequencing and
manipulation of movement ideas.
5.3.1
Discusses the use of compositional
techniques and is able to identify them in
the work.
5.3.3
Compose utilizing identified
choreographic devices of another
choreographer
Build a sequence with six of the different movements,
demonstrating contrast in level and dynamics. The quality of
the transition must be fluid and controlled. Include a fusion of
styles
(Tap and contemporary).
Link to previous compositions.
View section four of Swansong, the slow trio and note the
choreographer’s use of lifts. View section six, the cane dance, and
note the use of canon mirroring and unison. Make use of these
techniques in your own composition so far.
Journal entry:
Describe each of the choreographic techniques,
(canon,
unison, and mirroring); give an example from your viewing of the
work. Document how you have incorporated these techniques into
DANCE 7-10 SUPPORT, CURRICULUM K-12
your work.
Resources
Video Swansong
Language
Canon
Mirror
Unison
contrast
dynamics
DANCE 7-10 SUPPORT, CURRICULUM K-12
Integrated learning experiences
Evidence of learning
SESSION 6
Discuss how the choreographer has used dynamics to aid in the
communication of the intent. Consider:
 release of energy- how movement is initiated or projected
into space
 weight/force/time- how the movement is performed utilising
body weight, degree of force in time
 qualities of movement- how force is used e.g. sustained,
suspended and swinging
View sections 3, 5 and 7 – the victim’s solo.
Students are to make reference to the video in identifying the various
ways flight is suggested by the choreography. Discuss its relevance
to the subject matter of Swansong
Make note of the particular dynamics employed in the choreography.
Discuss where students may have seen symbolic movement that
suggested a sense of trapped or escape. Identify the emotions being
expressed and where the focus of the movement is.
Conduct a warm up, which includes body contractions and high
release. Build on the previous lessons exercises emphasising swing,
suspension and sustained movement.
Individual Work

Build a sequence of movements, which will travel you along one
line of direction. Example: lunge, turn, curve body over and
balance.

Perform the sequence, now with a fixed point of focus to travel
toward, example: on a diagonal line travelling up or downstage.

Include into the sequence long, expansive, reaching movements
with different parts of the body and make reference, with arm
movements, to bird like images. Pay particular attention to your
choice of dynamics to achieve a sense flight and freedom. The
sequence should repeat and continue until the dancer has
moved out of the dance area.
5.1.1
Performs dance skills of increasing
complexity with control and correct body
alignment. Displays articulation of the
upper body and torso.
5.1.3
Performs with particular awareness of
focus. Maintains quality of line and
clarity in body shape.
5.2.1
Applies knowledge of the elements of
dance to convey meaning. Composes
using improvisation, selection and
refinement based on a stimulus to
communicate ideas.
5.2.2
Demonstrates a sequence of movement
that communicates the idea of flight or
freedom.
5.3.1
Describes the various ways Bruce
has suggested flight in his choreography.
Explains the relevance to the subject
matter of the work.
5.3.3
Outlines how Bruce has used movement
to convey meaning and give contrast to
the work.
Assess how others have used the
elements of dance to compose in
response to a given stimulus.
Ask students to think of a way to link their sequences for threes,
chair work and solo work to eventually create a whole dance.
Journal: Discuss how Bruce has used symbolism in his work.
Outline your choices in dynamics when composing in response to the
given stimulus.
DANCE 7-10 SUPPORT, CURRICULUM K-12
Resources
Video Swansong
Chairs
Language
Energy
Weight
Force
Time
Sustain
Suspend
Swing
Intent
Upstage
Downstage
DANCE 7-10 SUPPORT, CURRICULUM K-12
Integrated learning experiences
Evidence of learning
SESSION 7
5.1.1
Performs complex dance skills with control and
correct placement and alignment.
Students view the work in relation to the costuming, lighting, set,
use of props and accompaniment. Discuss the choices that
Christopher Bruce has made and how they further the intent of his
work. Relate the atmosphere, mood that is created, and how the
major themes have been portrayed and characters developed
through these choices. Discuss the meaning of the work
They detail in their journal the choices they would make in
presenting their work for a professional performance. Choices of
costume design, set design, and props are to be included with
detailed drawings in the student journal.
Explain the written response that is included as part of the
assessment. Students should describe and analyse their selection
of movement to convey meaning, development of characters,,
relationship between characters and use of the chair symbolically
to aid in characterisation and further the intent of the work.
Students now refine their own compositions, ready for
assessment.
Resources
Language
Video Swansong
Chairs
Design
Atmosphere
Mood
5.1.3
Applies performance quality and technique to the
performance of the work.
5.2.1
Shows evidence of exploration, improvisation,
selection and refinement of movement that relates to
the stimulus.
5.2.2
Demonstrates an organised composition that
communicates an idea.
5.3.1
Describes the influences on the choreographer in the
creation of Swansong.
5.3.3
Describes their own personal response to the
composition process: selection of movement,
development of characters, relationship between
characters and the symbolic use of the chair as an aid
in characterization and further the intent of their work.
Accompaniment
Props
DANCE 7-10 SUPPORT, CURRICULUM K-12
DANCE 7-10 SUPPORT, CURRICULUM K-12
Prologue Swansong
Answer all questions in the spaces provided.
1. Complete the gaps in the sentences below:
The dancers enter from
Another dancer is seated on a
in the
2. How do the dancers communicate with each other?
3. Describe two lifts used in the trio section. What do they represent?
4. Name and describe one mimed action used in the extract.
Name of mimed action
Description of mimed action
5. Compare the dynamics of the Victim’s movement with that of the Guards
6. The Victim is sitting in the chair, watching the Guards dance. What is his mood?
DANCE 7-10 SUPPORT, CURRICULUM K-12
7. Identify two movements which suggest this mood?
8. How is the Victim removed from the chair in the first instance?
9. Contrast the Victim’s solo movement with that of the duet.
10. Describe a moment when the Victim and Guards work in unison.
11. What is the Guards attitude to the Victim?
Describe what happens in his movement to suggest this.
12. Explain how the set and costumes are appropriate for the extract.
DANCE 7-10 SUPPORT, CURRICULUM K-12
Creation of Swansong: Sources of Inspiration
When the work was first performed Bruce deliberately wanted his audience to watch it without background information.
I usually avoid program notes for my ballets because they tend to limit the audience’s imagination to a single interpretation.
My works generally contain a collage of ideas creating several possible narratives, which in turn will hopefully trigger a
personal and unique reaction in the spectator. This is true of Swansong, in which an element of surprise also helps to build
tension.
Christopher Bruce has frequently stated that he uses a number of sources for any work he creates.
There were two basic inspiration points from which Swansong sprung. One was reading about being aware of the work of
Amnesty International and wanting to say something about the situation of the prisoner of conscience. The other image
was saying good-bye to something- and for me, it was saying good-bye to dancing.
Bruce has acknowledged that the sources he drew on for Swansong include:
 the experiences of the Chilean poet Victor Jara under the junta of the 1970’s
 the novel by Oriana Fallaci, A Man, in 1981, after meeting Victor Jara’s widow Joan
The first section of Fallaci’s A Man describes the torture of the hero, Alexander Panagoulis, condemned to death in 1968
for attempting to assassinate the Greek dictator George Papadopoulos. Saved from death he spends three and a half
years in a tomb-like cell with almost invisible windows. In the novel Fallaci describes the process of torture and
interrogation as if it was a theatrical production:
You used to say that in every repressive regime, in every dictatorship, whether of right or left, west or east, yesterday,
today, tomorrow, a good interrogation is like a theatrical script, with characters who enter and exit according to precise
instructions and a director who moves them from off stage: the inquisitor who has been put in charge of the investigation.
You used to say that each of those characters has a different role but they all have a single purpose: to make the victim
talk. In the interest of their success the inquisitor gives them carte blanche and waits. He has a terrific weapon at his
disposal, the weapon of time; he knows that if he is patient, sooner or later the victim gives way. To keep from losing, the
victim has to make that weapon impotent: he has to react with a counter-offensive that will prevent the normal performance
of the script. Hunger strike, thirst strike, aggression, violence opposed to violence, anything to drive them to hit harder and
make him faint. When the victim faints, overcome by beatings and other tortures, or goes into a coma after fasting, the
interrogation obviously is suspended. This allows him to rest and to face the resumption of the tortures in fresh condition
and with the advantage of knowing the lines, the scenes, the style of the production.
(translated by William Weaver. Bodily Head 1981 p.41)
Swansong is typical of how Bruce uses a literary source. He never tries to include all the narrative, but, whether the source
be fact or fiction, he selects the essence to inspire and inform his own art.
The other important source for Swansong was autobiographical. There have been autobiographical elements in a number
of Bruce’s creations reflecting his concerns of the time of their creation. As Bruce wrote in his 1991 program note: ‘At the
risk of sounding cliched, the dancer’s existence is an almost masochistic struggle, particularly in the latter years when,
despite the increasing physical hardships, it is so difficult to let go. Personally Swansong also can be seen to represent
those years of struggle and the catharsis experienced when I was able to accept that a very important part of my life was
over.’
To put this in context it must be remembered that Bruce had been a powerful stage presence with the ability to move an
audience. Although his performances were far less frequent in the 1980’s than in the previous two decades Bruce found
great satisfaction in performing.
In conversation Bruce frequently parallels the style of Swansong’s presentation with that of Commedia dell’arte, popular
Italian improvised masked comedy, in which the performers adopted stock characters for plays which often made serious
points in a lighted-hearted manner.
DANCE 7-10 SUPPORT, CURRICULUM K-12
Question and answer synopsis
Swansong opens with the victim sitting on a chair stage right. The interrogators enter one after the other from stage right
and, before any music begins, perform a brief tap sequence. This establishes that the two form a team before they take up
positions on each side of the victim’s chair, alternately tapping out questions to which the victim makes no response. This
may infer that it is a well-rehearsed line of questioning which is being used as ‘an opener’ on the victim. Initially this seems
light-hearted, almost a game, but with the first electronic crash which signals the start of the first group dance the mood
becomes more threatening.
At the start of the music the dance begins with the victim pulled off the chair by the first interrogator. The opening sequence
of movement and music is repeated, beginning after the victim has been returned to the chair, suggesting a repetition of
interrogation and giving a rhythm to the opening.
The phrase occurs four times within the piece. It is used between the first and second sections and again between the
second and third sections. It is repeated with different responses from the victim. In section 6, it is performed just as it is in
the prologue, except for a marked increase in the forcefulness of all of the characters movement.
In the final showing it is danced to music for the first time. The rhythm and phrasing has been developed. The refrain of the
music against which Bruce places this sequence has also been heard previously. The unanticipated good fit of these two
elements is a sound choreographic ploy and also serves to heighten the intensity of the questioning.
By a slight changes of the formulae the interrogators try to catch out the victim and induce answers. This sequence,
preceded by a speeded-up repeat of the tapped interrogation that follows section 1, will again be repeated at the end of
section 6.
Throughout the first section the dance suggests the interrogators and victim playing a game of cat and mouse, the dance
changing from trios to brief duets and solos. In the duets the interrogators dance in unison, performing the same material
one after the other or slightly varying the steps to attack the victim. In the victim’s brief solos, performed as if answering
back defiantly, his characteristic phrases incorporating arabesques, leaps ands open-arm gestures indicative of the victim
use an open, longer line that the forceful movements for the interrogators.
Question and answer, or call and response is a common method of structuring duets or group choreography. It is also used
in many African based dance forms from which tap and therefore Vaudeville and Musical Theatre evolved. Bruce’s use of
call and response in a loosely tap based vocabulary is simple and yet hugely satisfying. As the work progresses the
audience can trace the repetition of these same questions, noting the victims varying responses, the increasing frustration
and hence response of the interrogators. The process becomes futile simply reiterating the same false statements and
questions until the victim is too weak to play the game.
DANCE 7-10 SUPPORT, CURRICULUM K-12
CHRISTOPHER BRUCE
Christopher Bruce’s position as Britain’s leading choreographer working with both classical and contemporary companies
worldwide was acknowledged in March 1993 when he received the International Theatre Institute Award for excellence in
international dance. This follows a host of other awards throughout a rich career including the first Evening Standard Award
for Dance in 1974 for his contribution to British Dance as both a performer and as a choreographer.
An interest in varied forms of choreography developed early in his career from his own exposure to classical, contemporary
and popular dance. Born in Leicester, Bruce grew up in Scarborough where his father encouraged him to take classes in
ballet and tap. He won a scholarship to the Ballet Rambert School at the age of 13 and after a brief period with Walter
Gore’s London Ballet he joined Ballet Rambert in 1963. He began to perform solo roles while Rambert was still primarily a
classical company and in 1965 created his first role in Norman Morrice’s Realms of Choice. After the Company’s
reformation to become a more creative company in 1966 Bruce emerged firstly as its leading dancer – he was described as
the ‘Nureyev of Modern Ballet’ – and a few years later as one of its major choreographers, the last to be nurtured by the
Company’s founder, Marie Rambert.
As a dancer Bruce was recognised as an artist of intense dramatic power and is particularly remembered for his impressive
interpretations of the title roles in Glen Tetley’s Pierrot Lunaire, Vaslav Fokine’s Petrouchka. Also for the roles he created
including, in full-evening works, the Poet in his own Cruel Garden (choreographed and produced with Lindsay Kemp) and
Prospero in Tetley’s The Tempest.
As a choreographer Bruce was undoubtedly stimulated by the variety and experimentation of Ballet Rambert in the 1960s
and in particular the work of choreographers Glen Tetley and Norman Morrice who shared a similar background that
combined a knowledge of academic and contemporary techniques. His first work in 1969, George Frideric, a response to a
sonata by Handel, was followed by twenty further creations for Rambert with whom he also regularly performed until the
end of the 1970s. Between 1975 and 1979 he was Associate Director of the Company and then, as he was increasingly in
demand internationally as a choreographer, became Ballet Rambert’s Associate Choreographer (1979 – 87).
Although his productions have been mounted on numerous companies Bruce prefers to gradually build up a relationship
with groups of dancers and return to work and choreograph with them on a regular basis. He has been associated in this
way with Nederlands Dans Theater; the Royal Danish Ballet; Cullberg Ballet; English National Ballet (where he was
Associate Choreographer 1986 – 1991); Geneva Ballet and Houstan Ballet (of which he has been Resident Choreographer
since 1989). Bruce has choreographed for a wide range of productions including musicals (among them the original
professional production of Joseph and His Amazing Technicolour Dreamcoat and David Essex’s Mutiny); plays for the
Royal National Theatre and the Royal Shakespeare Company; Operas (working as producer and choreographer for Kent
Opera); for television and videos.
As a choreographer Bruce has shown awareness, idealism and sensitivity rare in dance. He has created works that are
directly concerned with social, political and ecological issues. For Those Who Die as Cattle (1972) was a statement about
the horror of war; Cruel Garden (1977) is based on the life, literature and art of the Spanish poet Federico Garcia Lorca
who championed the cause of the gypsies during the fascist regime in Spain; Berlin Requiem (1982) looked at the
decadence and fall of the Weimar Republic in Germany. Ghost Dances (1981) for Rambert; Silence is the End of Our Song
(1985) a television production for the Royal Danish Ballet; and Land (1984) to Arne Nordheim’s Warsaw and Swansong
(1987) both for London Festival Ballet; were expressions of Bruce’s attitude towards political oppression.
Bruce’s serious works have their lighter aspects and most of his productions have at least an underlying emotional content.
Many are deliberately open to a range of interpretations rather than having a fixed story-line. His personal range of stimuli
is extensive including a wide range of literature and music. Although a number of his early works were performed without
accompaniment or had music added after they were choreographed he has repeatedly used scores by George Crumb and
more recently choreographed to masterpieces by Igor Stravinsky (Les Noces and Symphony in Three Movements) and
collaborated with composer Philip Chambon. He has also turned to popular music, choreographing to the works of Joan
Baez, John Lennon and the Rolling Stones.
Like many choreographers Bruce has regularly collaborated with a group of designers who have been sympathetic to his
work and who appreciate the need for dancers to move freely in an uncluttered space. Most of his early productions were
designed by Nadine Baylis and lit by John B Reed who together defined Rambert’s visual appearance in the 1970s.
Although he has worked with them in more recent years he has also been associated with the Dutch painter Walter Nobbe,
Pamela Marre and his wife Marian Bruce. He has also been personally responsible for the design of some of his
productions including the Andean setting for Ghost Dances and Swansong.
DANCE 7-10 SUPPORT, CURRICULUM K-12
Christopher Bruce has performed and choreographed for television. He was himself the subject of a BBC television
documentary in the Omnibus series ‘Voices of Children’ (1978) which included one of his works to George Crumb’s music,
Ancient Voices of Children. Among Bruce’s best known creations are Cruel Garden, Ghost Dances, Sergeant Early’s
Dream, Intimate Pages, The Dream is Over and Swansong, all of which have been televised. His most recent
choreography includes creations for Houston Ballet – Nature Dances, a collaboration with Philip Chambon; and Geneva
Ballet – Rooster to the songs of the Rolling Stones and Kingdom inspired by Max Ernst’s painting ‘Europe after the rain’.
Earlier this year he also created his first work Moonshine for Nederlands Dans 3 and Waiting for London Contemporary
Dance Theatre.
DANCE 7-10 SUPPORT, CURRICULUM K-12
Commedia dell’ Arte
Christopher Bruce frequently parallels the style of Swansong’s presentation with that of Commedia dell Arte, popular Italian
improvised masked comedy, in which performers adopted stock characters.
Commedia was born around the middle of the 16th century, in the market place where a crowd had to be attracted, and
interest held. The actors improvised the dialogue and actions as they went along, and each actor had special speeches
and comedy routines, which they adapted for each performance. Ensemble work was crucial to the success of the
commedia performance. The troupe had to know and understand their partners, balancing and contrasting them, working
together with sensitivity in order to draw their audience into the game before they realised.
The same set of stock characters appeared in all plays performed by the same troupe. The typical characters may be
divided into three categories: lovers, professionals, and servants.
All actors except the two playing lovers, wore masks. These were made of leather and covered the eyes and nose. They
were extremely exaggerated, creating caricatures of the types of characters they represented. Each character had a highly
stylised way of walking, stance, costume, and relationship to the audience.
The characters were representative of all the classes. These included a lawyer called Il Dottore, a cowardly soldier called Il
Capitano, a rich old man called Pantelone, servants such as Pulcinello and Brighella and a pair of young lovers, Harlequin
and Columbine.
The plots of Commedia usually consisted of attempts by the young lovers to get together, while the heroine’s guardian,
pantalone, did his best to prevent this. He usually tried to marry the heroine himself for her fortune, or attempted to match
her with Il Dottore or Il Capitano. The servants were always involved in these events, organising the marriage of the young
lovers while benefiting financially themselves.
The Commedia troupe often made serious points in a light-hearted manner.
Personality disappeared to be replaced by type: e.g. the mask in the traditional Italian comedy. In Commedia ‘mask’ refers
to character type – thus the lovers are still ‘masks’ even though they do not actually wear masks.
DANCE 7-10 SUPPORT, CURRICULUM K-12
Year 10
SWANSONG
JOURNAL QUESTIONS
1. Define swansong using the dictionary.
2. What were the main sources of inspiration for the creation of Swansong.
3. Bruce uses elements of several genres of dance in Swansong. Identify the various styles
observed.
4. How successful is the choreographic tool of question and answer in suggesting a conversation
through movement?
5. How have elements of Commedia dell’ Arte been used by Christopher Bruce to further the
narrative of his work?
6. How does Bruce use the chair and what does it symbolise?
DANCE 7-10 SUPPORT, CURRICULUM K-12
WOLLONGONG HIGH SCHOOL OF THE PERFORMING ARTS
ASSESSMENT TASK - YEAR 10 - 2004
TASK NO :
TOPIC :
MARKS :
3
DATE DUE :
Term 3 Week 10
Swansong study - Composition
35 / 100
WEIGHTING :
35%
O U T CO ME S T O B E A S S E S S E D

5.2.1 – explores the elements of Dance as the basis of the communication of ideas

5.2.2 – composes and structures dance movement that communicates an idea

5.3.1 – describes and analyses dance as the communication of ideas within a text
TASK :
1. Perform a group composition as developed from classwork, showing a fusion of styles,
characterisation, use of question and answer as a choreographic technique and symbolise use of the
chair as a prop.
2. Submit a written response which describes and analyses your groups
- selection of movement to convey meaning
- development of characters
- relationship between characters
- use of the chair symbolically to aid in characterisation and further the intent of the work
MARKING CRITERIA
Your task will be marked according to your ability to :



demonstrate organisation of movement that communicates an
idea, utilising a prop
10
demonstrates exploration of the elements of dance as the basis of
communication of ideas and characterisations
10
written response
15
DANCE 7-10 SUPPORT, CURRICULUM K-12
YEAR 10 ASSESSMENT TASK
SWANSONG
20 Marks
Outcome 5.2.2
Composes and structures dance movement that communicates an idea.
Outcome 5.2.1
Explores the elements of Dance as the basis of communication of ideas
Mark
0–4
Attributes
Known
movement,
limited
exploration of STD and stimulus



5–8


Predictable

9 -12
Some personal style and evidence
of organisation of movement



13– 16
Strong
personal
style
evidence of stimulus,
organisation
and
clear



17 - 20
Excellent presentation of a Dance



Criteria
Limited manipulation of STD
Movement largely unrelated to
stimulus
No communication of intent
through characterisation or
use of prop
Simple manipulation of STD
Minimal
generation
of
movement related to stimulus
Minimal communication of an
idea using characterisation
with simple use of prop
Manipulation of elements with
evidence of intent
Some
generation
of
movement with personal style
reflecting stimulus
Movement organised into
phrases that communicates
intent using prop
Clear
demonstration
and
manipulation of elements to
communicate
intent
integrating prop
Movement generated with
strong link to stimulus
Clear
organisation
of
movement
Demonstrates excellent ability
to link elements of Dance to
composition of movement as it
relates to the chosen stimulus
in a personal style
Clear, consistent organisation
of movement in the Dance
Strong characterisation and
use of prop
DANCE 7-10 SUPPORT, CURRICULUM K-12
15 Marks
Outcome 5.3.3
Applies understandings and experiences drawn from their own work and dance works of art.
Outcome 5.3.1
Describes and analyses dance as the communication of ideas within a context.
Marks
Attributes
Criteria
1–3
Limited use of terminology and
structure
Limited ability to describe their
composition using basic terminology
and showing a real link between their
movement selections and the
communication of their idea
Limited ability to describe and discuss
their composition using some
appropriate terminology and showing
some link between their movement
selections and the communication of
their idea
4–6
Some use of terminology little
structure
7–9
Some use of terminology and
structure
Ability to describe and discuss their
composition using appropriate
terminology and linking their
movement selections to the
communication of their idea
10 – 12
Strong use of terminology and
structure
13 - 15
Excellent use of terminology and
structure
Ability to describe and discuss their
composition using appropriate
terminology and clearly linking their
movement selections to the
communication of their idea
Demonstrates an excellent ability to
describe and discuss their
composition using appropriate
terminology and clearly linking their
movement selections to the
communication of their idea
DANCE 7-10 SUPPORT, CURRICULUM K-12