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Matthew Bourne - Coggle Diagram
Matthew Bourne
NUTCRACKER (2002)
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TIME FOR BED
MOVEMENT EXAMPLE
The Nutcracker appears and Clara staggers back quickly in shock. Sharply, she turns towards the audience and performs an exaggerated silent scream, holding her hands to her face and scrunching her eyes. She then runs off stage left.
ANALYSIS
Her shocked expression shows Bourne's use of Characterisation and pedestrian movement as she runs off stage. It highlights his use of parody, almost mocking Clara's fear of the Nutcracker.
MARSHMALLOW GIRLS
MOVEMENT EXAMPLE
The first dancer enters from stage left, turning to the wing and and beckons for the others to follow, with an exaggerated arm gesture. In unison, the five dancers use toe-heel steps to walk across the stage, with a bouncy quality and their hands flexed, and arms straight down by their sides. They turn to the audience with a wide grin.
ANALYSIS
Bouncy walks: overly feminine portrayal, aligning with 1950s gender stereotypes and reflecting Marilyn Monroe influence.
Smile: searching for validation from audience > 50s expectations femininity > shows Bourne's use of Characterisation.
GOBSTOPPER BOYS
MOVEMENT EXAMPLE
The three dancers have their arms outstretched in front of them with fists as they hop off of each leg, scooping up the other, as if pedaling a bike. They then do two barrel jumps with their arms in a V shape above their heads.
ANALYSIS
Pedalling motorbike: mocking 1960s biker boys with hyper masculine movement.
Fists and explosive jumps: aggressive movement aligns with exaggerated masculine portrayals.
CHOREOGRAPHIC STYLE
Eclectic style: combination of ballet, contemporary and social dances.
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Movement: Inspired by musical theatre and hollywood, pedestrian, classical and contemporary.
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CONTRIBUTIONS
- Collaboration; worked with various artists and designers, widening his audiences, eg. Costume designer Les brotherson.
- Re-interpretations makes his works accessible as audiences are familiar with the narrative.
- Financial accessibility;
Has had works shown in cinemas and on Freeview channels such as BBC iPlayer.
- Challenges society with his themes eg. Sexuality in The Car Man.
- Reputation and success; people motivated to watch his works (is an OBE).
THE CAR MAN (2000)
STARTING POINT
Wanted to create his own version of Bizet's Opera Carmen, using the original music. He wanted it to be a thriller, with twists and turns.
KEY THEMES
Revenge, passion, murder/violence and lust.
PHYSICAL SETTING
Female costumes: Loose fitting dresses, many with floral patterns, and point bras, reflecting time period.
Male costumes: Jeans and overalls with loose checked shirts and work boots.
Garage scene: cars around the sie of the stage, hammers and tyres.
AURAL SETTING
- Original music from Bizet's Opera Carmen.
- Enhanced through rhythmic body percussion, such as clicking finger and stamping feet.
- Also shouting.
- Direct correlation in garage scene.
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SCENE 1: GARAGE SCENE
MOVEMENT EXAMPLE
Two male dancers throw their arms in front of them with a flat back, repeating this twice and shifting forward each time. They then swing their left arm and leg backwards in a circular motion, before wiping their brow and walking off stage left.
ANALYSIS
Exaggerated masculine and aggressive movement is mocking gender stereotypes.
Showing their muscle: competitive nature of the mechanics, foreshadows conflict later.
Pedestrian gestures highlights Bourne's use of characterisation and musical theatre influence.
BACKGROUND/TRAINING
- Exposed to dance and theatre throughout childhood.
- Watched Swan Lake in 1979, cemented his interest in dance.
- At 22, trained in dance theatre at Laban Centre.
INFLUENCES
- Inspired by film and musical theatre, especially Hollywood.
- Fred Astaire and Frederick Ashton.
- Ballet and contemporary dance.