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Artificial things - Coggle Diagram
Artificial things
staging/set
stimulus - snow on the floor portrays the 'snow covered landscape' and the snow globe idea. the backcloth was inspired by his paintings. The border on the floor could suggest the picture frame.
lighting - colours on the blackcloth are faded and washed out which supports the low intensity go the lighting. there is nothing vibrant in either.
A headless mannequin and display cabinet feature in Djurovic's paintings.
The set is influenced by several paintings from the ‘Unknown Secrets’ collection by Goran Djurovic. It consists of a crudely painted heavy backdrop in which paint looks as if it is running down the canvas. In scenes one and two this is painted with brightly coloured strips, which are removed for scene three to create calmer visuals. This scene change signifies the change of mood. The vitrine is on its side with a snowdrift inside the cabinet. Paper snow is scattered on the ground in a diagonal from the vitrine to Laura who is downstage right. In front of the vitrine there are two stools and a headless suit on mannequin legs perched on a third stool.
The dance floor is a light grey and around the edge is a wooden frame reflecting the colour, shape and restriction of the vitrine. This emphasises the fact that the audience is looking into the snow globe of artificial things.
costume
Amy - able body - a thigh length sleeveless dress with a pale green petter pan collar. the top half is a mix of blues whilst the bottom is mainly pale green. There are two vents each side allowing for free movements.
Dave - double amputee - a loose fitting open neck short sleeve shirt with loose fitting grey trousers and a black belt. The shirt has green as its main colour, with some blue on the right. The shirt is tucked in.
Laura - wheel chair - a boat necked sleeveless vest top edged in navy blue, the top half a mix of blues, the bottom half off white, pale grey loose fitting trousers with a narrow blue belt. Laura is the only dancer who wears shoes- black heels
David - a loose fitting open neck short sleeve shirt. it is mainly off white with drips of green on the left and blue on the right. The shirt is not tucked in but flows freely.loose fitting blue/grey trousers
stimulus
a snow filled urban landscape with a solitary figure perched on a collapsed wheelchair.
the personal experiences of the dancers
the paintings of artist Goran Djurovic
lighting
Dave and lauras duet - pool of white light, low intensity, fades at edges, rest of the stage is in darkness, shows the snow globe effect.
Dave solo - transition into blue flood, spot light - white, contained in a small area reflecting how his dad was a singer in spotlight. moves into a deep orange pool of light that fades into black. the warmth reflects the resolution in contrast to the snow.
Amy and David - warm yellow/amber mid intensity, contrast with Dave and Laura, idea of being in the snow globe as lighting restricts their movement. idea of being gazed at from a far.
movement
daves solo - push up onto hands, drums fingers, turn, shoulder roll, sit, hand and arm gestures.
gentle, smooth but also sudden. centre stage. hand gestures tell a story - raising his hands is linked to his father holding the microphone as he sang.
family portrates - sit, stand, pivot, stillness, focus is important, proud, rigid, formal but also relaxed, upstage left. tableaux style formations.
gliding (putting the wheelchair back together) - turn, reach, roll, plunge, use counterpoint, lunge towards DSL and wheel spinning is done in unison, fluid, in a linear and circular pathway
choreographic intention
lifes limitations and resolutions
being subject to the gaze of 'the other'
aural setting-composer - Andy Higgs
gliding - the section begins with piano notes falling down from high to low. The internal piano strings are stumped in wooing glissando to creat an eerie and ambient atmosphere. there is a slight pause where a simple delicate yet soulful piano begins, builds up in layers to portray a music box.
Dave solo - pre ww1 song. there is a string orchestra accompaniment appropriate for love songs. shows personal experiences and resolutions perhaps the gave of the others.
choreographic approach
collaborative approach with dancers
company- Lucy Bennett
family portraits- the number and gender is important because the dancers represent a variety of roles within a family, as they pose for imaginary photographs.
performance environment - proscenium arch