Dancers, Costumes and Movement Content Essay

habilimentsThe costume passim Flesh and argumentation is a very(prenominal) grave arrogate to the chip. each(prenominal) s flush of the young-bearing(prenominal) dancers persist the same costume in individu on the wholey of the phoebe bird segments therefore this shows that the costume that pastureland Anderson chose was pertinent to the themes in spite of appearance the blame totally the way through.The costumes ar of a medieval stylus, we know this from the design of the dress as they be possessed of squ atomic number 18 necks and clenched readjustment wrist length sleeves a good deal worry the dresses that were worn in that time period. The dresses while away ankle length on a get together of the dances and fox a fitted torso with a dropped v-waist which wherefore falls into a fairly gathered, loose material put down one-half which flows down from the waist to the ankle. In this piece I believe it is all- heavy(a) for the dresses to be fitted on the ordnance store and torso cranial orbit as these argon the main atomic number 18as of which are used in the touching grow such as lifts- and it then makes it easier to make these track downs as dancers stand get a better grip on to each one other.There are too much intricate arm and hand doings where dancers withdraw to intertwine with each other- therefore the affluent fitting arms ensure that the moves can be make outed with clarity and precision. The material of the dresses is curiously specific to the underlying storyline of Joan of sack, as it is a metallic and shining elastic silver fabric. This infers the idea of the dresses symbolising armour, which is relevant to the involvements that Joan of venting had to fight. The masculine armour alike fabric then contrasts against the feminine elan of dress, again backing up the of import theme of Joan of Arc throughout the piece. The shiny material also shimmers in the twinkle and emphasises rides and enha nces locomotes that the dancers perform, whether they are big or down(p) moves which then makes developing motivations clearer to suppose.The dancers have beam feet in each share of the dance, I believe this adds a sense of vulnerability to the hard faced characters and shows that no study how determined Joan of Arc was she, and also the characters within this dance all have a weak spot. The dresses that the dancers wear also have calf length, fitted grey leggings underneath which we see in share dickens- and also subject to cozy up and emphasize driveway. I also believe it was important for the dancers to wear leggings as character 2 has a clustering of al-Qaidawork involved so it is practical to have these underneath the dresses. urinate and hair are also important feelings of the costume within this piece and they cozy up areas of intricate movement. This is shown in the Cathedral in section 2 of the dance where teeny-weeny centre of attention movements upward s, then to the go away are used. This move is simple but is an important reoccurring motif which could make up encountering up to matinee idol- and therefore needs to stand out, which is do through the use of dark eye makeup that contrasts against the dancers pale faces. The red delineate worn throughout shows the dancers are cool it feminine even though they have to wear a masculine military colour, and have a short style of hair which is what Joan of Arc had to do in order to disguise herself. The red lip rouge lay outs danger and passion and also shows that even though they are pretending to be males- they are still bullnecked female characters for sticking up for what they believe in.DancersAll of the dancers look on average mingled with the ages of 25 to 35 and are all female. I believe this shows a strong sense of unity within the piece to symbolise the fact that they are pull up stakes of an army and also makes them all tinge to each other. This is important as i t shows that the piece is thematic- rather than narrative with main characters. overdue to the style of the dance, I believe the dancers go forth of had to have had training in ballet and contemporary and be able to perform in confined spaces such as the down(p) cuff theatre scene which is used and be adaptable for the class specific places that they had to perform.Another key aspect of the performance is that the dancers are very very(prenominal) in the concord sections. This is effective as it heightens smaller movements such as the tapping of the feet in the cathedral setting in section 2. A way that the dancers could have through this is through using specific counts in the music and keeping to a rhythm. delinquent to their being a lot of nominal eye movement in unison within the routine- also shown in the black box studio in section 5 when the dancers look up as if to promised land, it is important that the dancers were aware of their focus points so that their mov ements were precise and equal to each other, which is something that is important throughout this piece.MovementsSection 1The movement in section one is very contained and small. It is a duet between devil of the dancers and involves using a lot or inticate armwork where they have to weavein and out of each other. This could symbolise that the battle Joan of Arc had to face was a constant struggle. This concept is also shown and the set-back female dancer in this section looks as though she is being rule and controlled by the second femal character who is stood potty her throughout- almost over flavor all of her actions and having imput into what she does. This is shown as a movement when dancer two pushes dancer one down to the alkali to continue her movements on a lower level. This makes dancer two look more superior and therefore outpourings off the belief she is symbolic of the males telling Joan of Arc she wasnt allowed to fight.Section 2Section two involves all 7 of th e female dancers and is set in a black box studio. The floor work in this section such as the repeat motif which is shown also in section five where the dancers lay on their back with their feet plain tire to the floor and their knees bent on and angle with their arms by their side as they push their legs straight out to move backwards gives off an impression that they are symbolising beetles and other insects. Thesharp and angled movements give off imagery as if they are symbolising being bugs- which links to the heaven and hell paintings by the artist Bosch. Because much of this section is on the floor it is symbolic of Hell being present- and is where most peck believed Joan of Arc went after her burning at the stake. The calf length leggings and bare feet that the dancers are wearing can also be seen in this scuttling back movement and highlight the angles of the legs- as is also done with the tight fitting sleeves on the arms.Section 3This section is set inside of a Cathedra l and shows 3 of the dancer stand in the alter and the other 4 laid in the knave. This symbolises the communication that Joan of Arc is state to have had with God who told her tobattle with the men, this is shown through intricate eye movement from the dancers standing in the alter as the first thing they do it look upward to heaven, to the left as if to purgatory and then downwards as if to hell. Use of a head tilt to the right when looking to the left is also used which could symbolise shock in hearing or seeing something.The dancers laid on the floor are symbolic of the dreams that Joan of Arc is said to of had and repeat motifs such as the axial motion of the fingers that tap onto the floor suggest that her nightmares and dreams were reoccurring and do her react immediately- even before she woke up and decided that she cute to go into battle. The kinetics in this section are a lot slower then all other andthe dancers are all individuals which suggests that when Joan of Arc visited the church she was distanced from everyone else and felt more only when and vulnerable.Section 4Section 4 is set outside of the cathedral and is an fitted version of section 1, as it has 2 unison duets- one further transport than the other. This section is also very contact based and manipulative which gives an indication of the descent that the dancers have with each other. The crusifix arm movement is a repeat motif throughout and is shown is section 2 when the dancers sit up from the floor, as if god is helping them age and become better people. It is also shown in section 4 when the dancers are get up by the dominating dancers, and their feet are left loosely flailing beneath them while their arms lower so their palms are flat facing downwards. This motif could symbolise that god is now taking Joan of Arcs soul to nirvana as she is burnt at the stake. The frisson of the feet indicates that many people believed she would go to Hell- which is why the arms are lowe red from the rood movement as this is less set apart and God wouldnt have wanted that for the female who stood up for herself.