Rosy Constanti Unit 13 Dance Technique and Unit 14 Dance Performance

Creating a duet through improvisation using the words 'Over, Under, Through' Layering dramatic intention onto the duet and exploring the relationship of Victim and Oppressor Written Analysis of devising in the physical theatre style of Rash Dash  In this lesson I learned a variety of new skills and devising approaches. We experimented with non-verbal communication, where we could only indicate each move through physical touch rather than words.  This was new to me and something I really enjoyed as it added a raw and real element to the piece. We also looked at the idea of manipulating and controlling our partners and vice-versa, which gave our pieces a flow and eventually added a victim/oppressor context. I also loved applying dynamics to our piece, as it made it really come to life and it was when we began focusing on the dynamics of each movement that it truly came to life and felt less unnatural.  My absolute favourite aspect of using this theatre style was the concept of us

Swinging Sequence  This exercise develops balance, strength and coordination. Our arms and legs must work in a cohesive way, while maintaining a controlled balance and support our bodies using strength in our legs, arms and core. I think I was successful at allowing the arms and legs to coordinate nicely and therefore maintaining a smooth swinging motion using momentum. To improve, I’d like to use gravity to fuel my movements even more and fully give in to its force, as using and giving in to gravity is a key element of contemporary dance. I’d also like to experiment more with supporting my body with my arms and becoming more confident in my arm strength.  This sequence develops many contemporary skills, such as floor work, giving in to gravity, and the transferring of weight.  Floorwork Swinging Sequence  This exercise helps to develop flexibility and strength. It develops and improves flexibility in the hips and the legs and requires good core strength and control.  I think I was fai

 Contemporary dance is an expressive and emotion-led form of dance. It was pioneered by figures such as Ruth Saint Denis and Martha Graham and its aim was to break the rules at a time when only ballet was considered prestigious. The movements and routines relied on experimentation and self-expression rather than technique.  Positions of the feet: Rather than balletic pointed feet, contemporary dances use flexed feet (often barefoot), meaning the foot is bent at the ankle.  In this image, the person's feet are flexed rather than pointed, giving the leap a sense of freedom. In contemporary dance, we use parallel position. This means that the knees and feet both face the front, meaning the feet are in line with each other in a way that resembles train tacks. Again this contrasts ballet, where everything is turned out (like first position for example). The use of gravity and the transferring of weight Contemporary dance is very grounded and relies on the idea of falling, which allows t

Martha Graham "The body says what words cannot"  Martha Graham was born in Allegheny, Pennsylvania on the 11th of May 1894 and passed away on the 1st of April 1991, at the age of 96.  Her Father was a physician and had an interest in "the bodily expression of human behaviour", with expression later becoming a key aspect of her dance style. When Graham was 16, her Father brought her to see a performance by Ruth Saint Denis, and she realised then that she wanted to be a dancer. Her Family moved to California in 1909, and it was there that Graham became familiar with Asian art which later had an influence on her choreography. She also took an interest in the sea and its fluidity and freedom, both important characteristics of her dance style, and her expressive and free movements were largely inspired by the nature she observed in Santa Barbara.  At this time, dance was considered a lower art form, and only ballet was considered prestigious and proper. However, modern d