mndiocesandance.weebly.com · Web viewAPPARTEMENT – MATS EK (2000)Opera National De Paris. MAJOR STUDY APPRECIATION – SEMINAL WORK. STUDY GUIDE. Choreographer: Mats Ek. Original

APPARTEMENT – MATS EK (2000)Opera National De Paris

MAJOR STUDY APPRECIATION – SEMINAL WORKSTUDY GUIDE

Choreographer : Mats Ek Original music played by : Fleshquartet - Set to music by Swedish rock band ‘Fleshquartet’ who performed live on stage. The group are a highly

expressive string quartet plus drummer and sampler, creates a “fusion” of classical, jazz, hard rock, rap, hip hop and pop. Set & Costume Design : Peter Freiij Lighting : Erik Berglund Location : Ballet de I’Opera national de Paris Dancers : Opéra National de Paris - Kader Belarbi, Marie- Agnes Gillot, Nicolas Le Riche, Jose Martinez, Clairemarie Osta, Alessio Carbone, Melanie

Hurel, Stephanie Romberg, Wilfried Romoli, Celine Talon Choreographed : 2000 Filmed : 2003 Length : 47 minutes Structure : 11 episodes

“Apartment is the place where we spend our lives, in close proximity to ourselves and others, where life’s rich pageant unfolds. But at the same time, “appartement” means “separation” and “isolation” - a place, which can simultaneously be personal and “apart”. The title of the ballet became compelling during the latter stage of preparation in Paris, encapsulating as it does various images and actions, which do not tell a story but can be linked to this key word. Not everything is connected with the concept, however. You will notice a zebra crossing. In reality it is situated in front of the Mistral bistro in Paris, next to the municipal theatre, where for many years I have had the opportunity to observe the everyday interplay of the passers-by.” Mats Ek

COMPONENTS – MOVEMENT, SPATIAL ELEMENTS, DYNAMIC ELEMENTS, AURAL ELEMENTS, DANCERS, SETTING/ENVIRONMENT

ORGANISING THE MOVEMENT – Organising the movement is focused on the development of phrases, which use the motif as their driving force. The motif is manipulated within the phrase to produce a clear statement about the intent. Phrases are distinct units of movement, which address the intent and develop the concept of the composition.

SECTION 1 - THE BATHROOM – a metaphor for holding onto personal troubles, letting them go and feeling relieved & them finally consuming you

MOVEMENTHow the body moves as a whole or in parts. Includes actions, gestures and stillness. The body in motion. E.g.: –Jumps, turns, lifts, falls,

balances

Emotive facial expressions and body movement - Performs the feelings associated with the toilet – stress, strain, relief…

Absurd, obscure = inner turmoil

Pedestrian transitions, walking, skipping – but stylized

MOTIF – PEDESTRIAN MOVEMENT e.g. Looking, listening, shoulders raised, covering the face, slapping head/bottom = reiterating common human experience portrayed in section = combined with classical lines e.g. extension, arabesque, grand plies, etc.

MOTIF INTO PHRASE – write 2 examples of how pedestrian movements have been manipulated into phrases (refer to elements of dance, 16 ways to manipulate motif) & explain its effectiveness in enhancing the subject matter

TRANSITION Bidet squashes female, shakes underneath, males exit to reveal male slumped on chair

SPATIAL ELEMENTS

(Include FILM TECHNIQUES)

How the space is used E.g.: – shape, size, level, direction, geometry,

Dancer enters from under the curtains, crawling and sliding – low levels, immediately suggests vulnerable state! Dancer initially avoids the bidet (holding onto inner troubles) where she avoids the central performance space which

immediately establishes an active space… she uses direction - moves forwards, backwards, sideways to avoid bidet…

MOTIF – CLOSED SHAPES - Concaved, contracted torso, legs – suggests a desire to address her issues = closed movements followed by open

dimension, floor pattern, spatial pathways, relationships

MOTIF INTO PHRASE – write 2 examples of how CLOSED movements have been manipulated into phrases (refer to elements of dance, 16 ways to manipulate motif) & explain its effectiveness in enhancing the subject matter

MOTIF – OPEN SHAPES - After she lays on the bidet – her movements become free/open & percussive

MOTIF INTO PHRASE – write 2 examples of how OPEN movements have been manipulated into phrases (refer to elements of dance, 16 ways to manipulate motif) & explain its effectiveness in enhancing the subject matter

When the female performs with the 4 men in unison they use the entire performance space which reiterates the idea of inner troubles being a universal human trait

Female returns to Bidet at end of section as the 4 men continue to perform – suggesting that the woman’s troubles have consumed her which is amplified by the bidet laying on top of the dancer (closed shape) as she convulses/vibrates her body = connecting to the overriding theme of isolation felt by this woman in her inner world

DYNAMIC ELEMENTS

After she lays on the bidet – her movements become free/open & percussive = showing relief from isolation when consumed by inner troubles…

The free/percussive dynamic is particularly seen when the 4 men perform in unison with the female dancer – suggesting the men’s relaxed/stress free façade is their acceptance/acknowledgement that all human’s have troubles which need to be accepted rather than feeling isolated by them


Sustained quality – to show strain/stress – this can be seen through movements such as the shoulders closing off

AURAL ELEMENTS Anything that can be heard. Reference to time. E.g.: – Music, body percussion, words, voice, breath, silence, tempo,

accent, time signature

Accompaniment – Initially has violins, slow, sustained, constant, solemn mood established = to enhance isolation, troubles consuming the female

As the Four males enter mid conversation, relaxed, laughter from under the curtains – the movement speeds up as well as the tempo of the music as the female dances in unison with the male dancers, performing - elevations, jumps, high to low, contrasting use of level = this section of the scene conveys the stereotypical idea of men not holding onto troubles when amongst friends

DANCERS ORIGINAL FEMALE SOLO 4 MALE DANCERS ENTER STAGE NEAR END OF SECTION

SETTING & ENVIRONMENT

Where it takes place and what is in the space. Visual elements / theatrical elements / elements of production E.g.: – costume, sets, props, lighting, curtains

White spotlight on bidet on an empty stage – establish the object – bidet a symbol of holding people’s inner troubles Lifts bidet to her head – reiterating the fact that some cannot let go of her troubles….

Blue/green dress/skirt, wearing casual/work flat shoes – human experience, audiences familiarity with character

SECTION 2- THE TELEVISION - ISOLATION from PHYSICAL WORLD??? CONNECTION TO CONTEXT – 2003 WORK – CONNECTS TO DEVELOPMENT OF DIGITAL WORLD in early 2000’s AND HOW THE WHOLE WORLD BECAME TRANSFIXED WITH NEW TECHNOLOGIES & HENCE PROVIDING SIGNIFICANCE/RELEVANCE FOR THE AUDIENCE – UNIVERSAL THEME WHICH IS STILL PREVALENT TODAY, AGAIN DRAWING CURRENT AUDIENCES


balances

Transition – female dancer places bidet upright on the stage, walks around male on chair, looks at him and exits prompt stage/stage left = MALE DOESN’T ACKNOWLEDGE FEMALE (TRANSFIXED WITH VIRTUAL WORLD)

Theatricality of facials and movement

His leg starts to move away from body but then MALE returns it back to his body and he yells at it = subconsciously trying to connect with physical world

His hand pulls his body away from the TV His leg pulls him away from chair into open space

MOTIF – PEDESTRIAN MOVEMENT , e.g.: scratching, laughing at TV, picks his nose, looks for remote, tidying up, boredom slumping on lounge, mimics the shape of the TV, turning TV off


At one point a low level sitting on bottom reaching out to DSR as if yearning for someone/something = a common human need?! But then quickly retrieves into self and feels the ARM CHAIR/familiarity

Flicks PEDESTRIAN CROSSING – not wanting human connection followed by Mimics taking off jacket then waves finger as if to say no = exposing self/not an option?! He then flicks hands/legs and takes angular shape with arms = suggesting his not wanting to connect with physical world and staying in the safe/virtual world

At end of section Male spasms to the floor as TV lights go out = not knowing how to connect with physical world = emotional turmoil

SPATIAL ELEMENTS


How the space is used E.g.: – shape, size, level, direction, geometry, dimension, floor pattern, spatial pathways, relationships

Closed shapes, emotionally detached which is reiterated by his ignorance of Female Dancer Open shapes ½ way through to show open for connection

ANGULAR SHAPES – mimics TV

ACTIVE SPACE – drawn to TV, performs on ARM CHAIR – as he moves away from TV and ARM CHAIR he directs his performance to these props – addiction to = whilst performing PUSHING movements of legs/arms = subconsciously needing connection

DIRECTION – Moves forwards and backs from TV; Towards end of the section the movement becomes more frontal towards the audience and more stylized

LOW LEVELS – adds to somber mood established by music!!At one point a low level sitting on bottom reaching out to DSR as if yearning for someone/something = a common human need?! But then quickly retrieves into self and feels the ARM CHAIR/familiarity

DYNAMIC ELEMENTS Sustained – yearning for a connection?!

Soft touches as he caresses chair – human touch??? Collapses on arm chair = a source of comfort FLICKS – frustrated with addiction, bored, not wanting to connect with physical world



Clock ticking sound over the Fleshquartet accompaniment (violin), somber mood = time passing?? DANCER SPEAKING AT TV – ONLY SOURCE OF OUTSIDE WORLD

DANCERS MALE SOLO



TV & WHITE LOUNGE CHAIR White flickering light facing male dancer resembling television Dull green pajama style long pants and shirt, with semi circular 3D patches, black split sole jazz shoes = disconnection from

world, isolated, not caring how he looks

SECTION 3 - PEDESTRIAN CROSSING = a technological/business world, life is continuously moving where relationships with others are a 2nd thought…


balances

Transition – 7 dancers enter from Up stage prompt, again mid conversation – unaware/concerned by man convulsing on floor – part of everyday life!? A logical section to follow TV section as the male dancer was stuck in virtual world and to contrast; this section is set outside with many people

Circle, attitude with flexion = being drawn to fast paced world

Talking, walking, everyday gestures Unison, group movement as tempo quickly builds = male/female equality/business world

At one stage a couple are seen laying on top of one another whilst everyone continues life around them, unfazed! This duo quickly ends – back to reality

Break away to work in pairs, solos, groups Lots of attitude lines with flexed feet, extended leg and arm lines = Chaos of the street, pedestrians

Off-centre weight placement, moving shapes = never staying in same place…. continuously moving

TRANSITIONDrastic change 4 males on floor, diagonally, 3 female dancers stand over them leave, brush face (comfort) = which is a logical progression into 4th section where male/female relationships are explored

4 on floor, roll over, stand and exit

SPATIAL ELEMENTS



Jumps, high levels, free movements

Slumping over, as if succumbing to the pressures of this world Using whole space – involves all world/universal theme Low levels performed with vocal screams to vocalize human’s frustration with societal norms/expectations, followed by high

levels whilst miming = inner strength/façade where society doesn’t hear your inner emotions Straight lines to mimic mechanical world/no time for emotions

DYNAMIC ELEMENTS

MOTIF - Percussive dynamics, forceful

MOTIF INTO PHRASE – write 2 examples of how PERCUSSIVE DYNAMICS have been manipulated into phrases (refer to elements of dance, 16 ways to manipulate motif) & explain its effectiveness in enhancing the subject matter

Strength power of mechanical world that involves the crossing?! Movement is more explosive with jumps, leaps, kicks, turning jumps, etc.

AURAL ELEMENTS Anything that can be heard. Reference to time. E.g.: – Music, body

Electronic (cars/mechanics) – technological world Music more electronic, dancers yelling/speaking over the music, then miming Repetition of movement (legs kick, running) – life stuck in one place?! All on floor, on their sides mouths open silent scream to audience, accompaniment soft, extended stillness

percussion, words, voice, breath, silence, tempo,


FAST/ENERGTIC movements = conveys the fast pace of life…doesn’t stop for anyone

DANCERS 7 dancers – 4 male, 3 female



Skirts and pants, some cross dressing – mostly brown tones BIDET/CHAIR/TV still in scene – another part of everyday life ZEBRA CROSSING – journey from one place to another Light projected onto floor DSR representing zebra pedestrian crossing – establishes setting

SECTION 4 - THE KITCHEN – A typical domestic relationship between man and woman – isolated from the world, consumed by their relationship’s love and tension whilst the outside world crumbles (baby)


balances

Curtain lifts to reveal duet (male/female), female is leaning against stove, back to audience, male circles her = establish domestic setting

GESTURES - Moments of everyday movement, e.g. checking the stove, repeated action Moments of emotion, through a glance, a look, fixing each other’s clothes Moving in unison – connection As female dancer exits stage, man goes to stove and traces its edges as if to read/connect with the female’s source of

troubles/their relationship

TRANSITIONFemale gives burnt baby to man and he hugs it and turns into a hole in the ground = Segway into CHILD GAME section

SPATIAL ELEMENTS



Female dancer is facing the back of the performance space immediately suggesting a solemn mood/character – stresses of life

Establishes a more intimate relationship through the partnering and weight bearing movements, the female initially consumes the male dancer (dependent on him) then after she looks at the stove – the music changes which suggests a change in their relationship from connected mutually to the woman trying to get away – her movements start to be erratic and pulling away from the male dancer

PERSONAL SPACE MOTIF – sustained/gestures – fixing each other’s clothes; hugging and walking together, She exits, touches him on face OP; She re-enters OP and hugs him from behind, becomes a duet again - She appears to be supporting him more here – role reversal – music softens again

Constant connection between the dancers through their focus and their movement – enhances intimacy

MOTIF INTO PHRASE – write 2 examples of how PERSONAL SPACE movements have been manipulated into phrases

(refer to elements of dance, 16 ways to manipulate motif) & explain its effectiveness in enhancing the subject matter

High/low level – to show the highs and lows in their relationship – this is seen when the male dancer lifts the female dancer multiple times throughout the piece to show his support of her particularly after her 1st connection with stove

The male’s vulnerability within the relationship is seen with his performance of low levels which are contrasted to high, greater use of the performance space to show his want/inner strength

The male so also performs in many different directions within the performance space which reiterates his isolation as he deals with his inner emotions of the state of his relationship

As she re-enters the space she performs open, reaching movements as if to show her need for freedom from her living situation whilst he holds onto her (personal space)

The females need of escape as she re-enters the space is reiterated by her prodding/sharp/harsh movements towards the male dancer (fight)…controlling him as she performs at a low level

The male dancer is seen to have more connection, support from female as she re-enters – understanding his need for her

DYNAMIC ELEMENTS

Become a solo, music becomes stronger as does his movement becomes more masculine and angular The male performs sharp, pushing movements in his solo – symbolising his need to push away the relationship troubles He also performs percussive/vibratory movements to show that he isn’t as strong he feels/wants to be Electric guitar intensifies as their movements become stronger/forceful/erratic/energetic



Back to violin softer music, with percussion/electronic sounds TIMER/TICKING – kitchen, monotonous of domestic life Violin – emotive sounds Electric guitar intensifies as their movements become stronger/forceful/erratic/energetic Yelling, argument - everyday The male dancer initially circles the female dancer repetitively as the section begins which interrelates with the ticking

sound within the accompaniment – monotonous of life…everyday life events After she looks at the stove – the music changes which suggests a change in their relationship from connected mutually to

the woman trying to get away Music becomes harsh in male solo to show – masculine character/turmoil Music changes to a softer feel as the female dancer re-enters space to show male’s world feeling more at ease with her

presence

DANCERS MALE FEMALE



Stove – a source of their troubles??? Their relationship working initially, up in smoke at end Baby – symbol of their burnt out relationship

Pulls out black baby from oven discards, male hugs it and disappears into the floor – fake/real child or not?

Armchair is there – enhances domestic setting Bidet is at front, pedestrian lighting there, accumulation of previous scenes, referencing whole scene – proximity, lack of

space in Europe - Aggressive?, frustrated confused, pressures of life/relationships…

Used to allow audience to connect with domestic setting/characters – familiarity with concept shown Her long grey dress, with grey stockings and blue pegs? Him in dark grey/brown jacket and textured pants

SECTION 5 – CHILDREN GAMES = the lighter side of life


balances

MOTIF – PEDESTRIAN MOVEMENT – Jumping (hop scotch) Playful - slaps, falls, but reserved, stylized, See-Saw


Some unison, minimal Lifts Don’t connect with any props = in their own imaginative world

SPATIAL ELEMENTS



Still shape – 3 dancers, starts = MUSICAL CHAIRS Using all space/free/unaware of life’s pressures

DYNAMIC ELEMENTS

Sharp/percussive = playfulness



Accompaniment is minimal, Whistle instrument? Some silence Whispering in ears only – weird? Children Ticking sound at times = time passing by without them noticing it Sporadic tempo – free nature of children

DANCERS Connection between all 3 dancers, hat important

ARE THESE MEN THEIR FATHER’S WATCHING OVER THEM?Male watching from side (pajamas), casually leaning and staring

Male from OP staring and watching also



ALL PROPS in scene! = adds to domestic setting of children playing at home?! Red velvet pants, blue skirt, male in skirt, backpack Hat integral part of the movement, shared between all 3 dancers = DIFFERENT PERSON/ACTING

SECTION 6 – WALTZ FOUR COUPLES = VARYING RELATIONSHIPS THAT ARE ALL ULTIMATELY THE SAME IN THIS WORLD

MOVEMENTHow the body moves as a whole or in parts. Includes actions, gestures and stillness. The body in motion. E.g.: –

Jumps, turns, lifts, falls, balances

Band is revealed by lights in upstage OP space

Vacuum reference use males female drags male, half other females carried off = preview to domestic life of women/chores At end Pedestrian lighting revealed = FAST PACED LIFE

SPATIAL ELEMENTS



DYNAMIC ELEMENTS

MOTIF – percussive dynamics – symbolic of the high and lows in relationships & reiterating the fast paced life humans live in which ultimately strip us of deep connections

MOTIF INTO PHRASE – write 2 examples of how percussive movements have been manipulated into phrases (refer to elements of dance, 16 ways to manipulate motif) & explain its effectiveness in enhancing the subject matter


accent, time signatureDANCERS First duet sitting with band, female speak at the male, yelling

1st couple (Pink, green) – kicking, jumps, in and around each other, releasing, grabbing of legs, turning, he follows her, playfulness,

1ST COUPLE – French feel/light hearted relationship – enhanced by bright pink costume

Segway into grey couple with the same move as PINK/GREEN couple – all relationships are the same, regardless of façade/outsideCut between previous grey couple - in greys more flicking of limbs

2nd couple (KITCHEN COUPLE) as they enter the music becomes a bit dark/eerie = connection to their kitchen scenes ending

3rd couple. Pajama man and original woman in the lounge room – eerie more intense music. She lifts and drops him on lounge. She is more dominant. He’s sloppy. Music changes, more violin = perhaps connected to their original sections = her trying to open him up to physical world/him trying to get her to rid of her troubles?!

4th couple Pedestrian dancers – both have sheer costumes shirt/skirt, softer, fluid and more graceful, more controlled lines and shapes = free couple/connected = music changes to a softer feel which highlights their softer movements

All 4 couples - Women push men with one finger in ear, dominant gesture = CONTEXT = EQUALITY/FEMINISM/RIGHTS Females lifting men!!!

Repetition of 1st duet, fluid and playful = At end female stops whilst man reaches for her She swipes him and he falls, she exits, he lays = this is performed at the same time the pedestrian crossing is highlighted = ridding of emotions = back to fast paced life



Door revealed – never used or referenced by dancers = ADDS TO DOMESTIC SETTING Pedestrian lighting revealed at end – fast paced life – no time to focus on relationships?!

SECTION 7 – MARCH OF THE VACCUM CLEANERS = STEREOTYPICAL DOMESTIC ACTIVITY


MOTIF – repetitive movements

MOTIF INTO PHRASE – write 2 examples of how repetitive movements have been manipulated into phrases (refer to elements of dance, 16 ways to manipulate motif) & explain its effectiveness in enhancing the subject matter

balances

Repetitive, monotonous aspect of house chores Unison – common human experience Repetitive back and forth feet = stuck in one spot Throw head at end and take vaccum off stage – fed up Two throw vaccums near end – music becomes more emotive – which is matches with their curved shapes as if yo connect

with their feminie side Cross arm motif seen throughout – enough is enough Ends with a harsh sound with a strong throw of the arm (fed up) then go back to vacuums and walk off (acceptance of life’s

norms)

SPATIAL ELEMENTS



High levels to show inner strength Large use of performance space – strength in character, enormity/never ending chore Feeling their body to re-connect with who they are – rather than just labourers

DYNAMIC ELEMENTS

Percussive movement Strong/pushing moves



Repetitive - harsh music is also used to highlight frustration Bag pipes sounds – Scottish/Irish fast repetitive movements, back and forth/side to side Females talking to male musicians – complaining??? Trying to show that they are human/not just machines

DANCERS Blue/green skirt dancer

Grey dress dancer enters Pink girl enters and throws – vaccum (frustration/lack of freedom) Black skirt/hat dancer enters



Vacuum BAND in background Bidet, Stove, chair, door – reiterating domestic setting/behaviour

SECTION 8 – DUO OF THE EMBRYOS = getting back to youth/seeing world in different light/appreciating the small things



Slowly crawl off at end = getting back to one’s inner world

SPATIAL ELEMENTS



MOTIF – low levels - A lot of floor work/children??? – Embryo reference; Connection to the floor, exploring, feeling, looking…= vulnerability

MOTIF INTO PHRASE – write 2 examples of how repetitive movements have been manipulated into phrases (refer to elements of dance, 16 ways to manipulate motif) & explain its effectiveness in enhancing the subject matter

DYNAMIC ELEMENTS

Sustained as they acknowledge new world?!



Soft plucking sounds (new world) Whispering – analyzing world Slow drawn out movements

DANCERS 2 MEN unaware of each other, yet perform in unison – ALL humans are the same regardless of outside influences – connecting to

inner world – oblivious of others/typical trait of children



mainly stove/chair in scene – simple things in life lighting dull – focus on dancer/inner world

SECTION 9 – GRANDE PAS DE DEUX = FEELING/SUPPORT/ACKNOWLEDGING INNER WORLD AND SHARING WITH OTHERSSAME SOFT COUPLE FROM 4 COUPLES SECTION


balances

Feeling/support/personal space/ups & downs – learning about each other Playful movements on crossing Unison – highlights connection between characters Looking at each other Sexual moves Hugs Reaching for each other Female sits in bidet of troubles – male drags her out of it Mimics finger in ear movements the women did earlier section = equality

Man leaves – she percussively hits door to get him back - then reaches for her

SPATIAL ELEMENTS


How the space is used E.g.: – shape, size, level, direction, geometry,

MOTIF - PERSONAL SPACE = feeling each other hands/feet/holding/lifting/supporting

MOTIF INTO PHRASE – write 2 examples of how PERSONAL SPACE has been manipulated into phrases (refer to elements of dance, 16 ways to manipulate motif) & explain its effectiveness in enhancing the subject matter

dimension, floor pattern, spatial pathways, relationships

Male strong with high levels (stereotype of male character) Female soft/floor work – vulnerable, dependent of man

Open shapes to symbolize openness with one another DYNAMIC ELEMENTS

MOTIF – SUTAINED DYNAMIC - Soft/sustained to reiterate emotional relationship

MOTIF INTO PHRASE – write 2 examples of how SUSTAINED DYNAMICS have been manipulated into phrases (refer to elements of dance, 16 ways to manipulate motif) & explain its effectiveness in enhancing the subject matter



SOFT VIOLIN = adds to emotional scene Increases in intensity as piece goes on

DANCERS Male & female



Reference to door = letting the outside into inner world & vis versaMALE tries to get out, stereotype of male façade?! Not showing emotions

Whole apartment seen in this work; use of props – reiterating domestic life Man puts head in stove – looking for potential troubles

SECTION 10 – SAFETY BARRIERS = life’s barriers/society’s pressures


balances

Dancers run across stage with safety barriers as previous couple walk off stage Piece ends with silence and barriers dropping – standing up to barriers???

SPATIAL ELEMENTS



DYNAMIC ELEMENTS

AURAL ELEMENTS Anything that can be heard. Reference to time. E.g.: – Music, body

Intense sound effects/drums

percussion, words, voice, breath, silence, tempo,


DANCERS NO DANCERS – just musicians



Strong focus on barriers – restrictions on life?? Isolation???

SECTION 11 – THIS DIVISION (FINALE) = A FINE LINE BETWEEN SOCIETY’S PRESSURES/BEING SELF



All cast come together Reaching up At End one dancer drops to floor whilst rest of cast leave her – she has succumbed/fallen to the pressures Curtain drops to conceal whole cast as they face the back and continue running – life’s journey/life goes on Leaving female on stage, where a male crawls from under the curtain at end to join her – human connection/care/support

SPATIAL ELEMENTS



MOTIF - FREE OPEN SHAPES , Locomotor movements continuously

MOTIF INTO PHRASE – write 2 examples of how OPEN SHAPES have been manipulated into phrases (refer to elements of dance, 16 ways to manipulate motif) & explain its effectiveness in enhancing the subject matter

DYNAMIC ELEMENTS

Strong/forceful movements!!!



Soft/repetitive sounds = FREEDOM? UNISON MEDIUM TEMPO – BALANCE IN LIFE

DANCERS ALL CAST – COMING TOGETHER???



ALL PROPS = life

ORGANISING THE DANCE

SEQUENCING Movement is organised into phrases, driven by the motif, which are then sequenced into sections Movement is sequenced in a logical form EPISODIC and linked together by transitions

List 5 examples of sequencing in Appartement that have been used to further convey the subject matter

TRANSITIONS Effective transitions are used throughout Appartement to enhance the way in which the audience views particular aspects of domestic life/ISOLATION. The transitioning also the audience to gain a sense of intimacy/empathy for the characters and allows Mats Ek to switch focus on particular ideas when needed, in order for the audience to understand the overall concept of the work.This is noticeable through the use of variation and change of accompaniment, SETTING/PROP CHANGE, lighting and dancer relationships

S1 - Dancer enters from under the curtains, crawling and sliding – low levels, immediately suggests vulnerable state!Dancers in front of curtain – consumed by issues/hidden from outside world4 male dancers enter half way through section to add another dimension to the concept of this section – music also increases in tempo and mood, vocal sound is also added – enhancing domestic settingTRANSITION into S2


Bidet squashes female, shakes underneath, males exit to reveal male slumped on chair, silence – SETTING CHANGE (curtain rises)

S2 - Transition – female dancer places bidet upright on the stage, walks around male on chair, looks at him and exits prompt stage/stage left = MALE DOESN’T ACKNOWLEDGE FEMALE (TRANSFIXED WITH VIRTUAL WORLD)

MUSIC BEGINS At end of section Male spasms to the floor as TV lights go out = not knowing how to connect with physical world =

emotional turmoil

S3 - Transition – 7 dancers enter from Up stage prompt from darkness, again mid conversation – unaware/concerned by man convulsing on floor – part of everyday life!? A logical section to follow TV section as the male dancer was stuck in virtual world and to contrast; this section is set

outside with many people – PEDESTRIAN CROSSING TRANSITION

Darkness – Silence - Drastic change 4 males on floor, diagonally, 3 female dancers stand over them leave, brush face (comfort) = which is a logical progression into 4th section where male/female relationships are explored

4 on floor, roll over, stand and exit

S4 - Curtain lifts to reveal duet (male/female), female is leaning against stove, back to audience, male circles her = establish domestic setting

TRANSITION - Female gives burnt baby to man and he hugs it and turns into a hole in the ground = Segway into CHILD GAME section

S5 – Dancers enter stage left, hopping into space TRANSITION – section ends with seesaw game, music change, dancers run off stage

S6 - Band is revealed by lights in upstage OP spaceTransition between couples is a mimicking of each others moves – a universal theme of relationships

Repetition of 1st duet, fluid and playful = At end female stops whilst man reaches for her She swipes him and he falls, she exits, he lays = this is performed at the same time the pedestrian crossing is highlighted = ridding of emotions = back to fast paced life

S7 – Ends with a harsh sound with a strong throw of the arm (fed up) then go back to vacuums and walk off (acceptance of life’s norms)

S8 - Slowly crawl off at end = getting back to one’s inner world

S9 - Man leaves – she percussively hits door to get him back - then reaches for her

S10 - Dancers run across stage with safety barriers as previous couple walk off stage Piece ends with silence and barriers dropping – standing up to barriers???

S11 - At End one dancer drops to floor whilst rest of cast leave her – she has succumbed/fallen to the pressures Curtain drops to conceal whole cast as they face the back and continue running – life’s journey/life goes on Leaving female on stage, where a male crawls from under the curtain at end to join her – human connection/care/support

REPETITION Reinforces choreographic intentionSee motifs…

VARIATION & CONTRAST

Variation and contrast is achieved in Mats Ek’s work Appartement

Variation means to use again in a different way, which has already been established through repetition. E.g.: manipulation of motif using an additional action or dynamic qualitySee motifs & sections

OppositesDiscuss different themes explored in different sections!!!

FORM Structure refers to the way the work is put together to create unity.

Episodic – 11 Sections

UNITY The logical development of the dance ensures unification where each part is lined to the common thread through the choreographer’s movement interpretation of the idea. If the constructional elements of motifs, developments, variations, contrasts, climaxes or highlights and above all transitions are successfully employed then the dance appears to have a logical development, which in turn produces unity.

This is the overall constructional element. The final shape that emerges when the dance is over and is realised though unity.

If all the parts fit into the jigsaw puzzle it finally produces a whole picture within its round or square frame. The movement content, with its inherent meaning and the way in which the constructional elements have been employed form the pieces of the jigsaw and its overall shape or dance form, forms the frame.

Motifs are varied through manipulations to create phrases, which are then sequenced to form sections

SEQUENCING, TRANSITIONS, REPETITION, VARIATION & CONTRAST, FORMAL STRUCTURE unifies the work

APPRAISAL & EVALUATION

Appraisal means to evaluate, judge or critically analyse a performance.

WAYS OF APPRAISING:• Observing• Analysing• Experiencing

ASPECTS FOR APPRAISAL• Elements of composition and the way they are used• Creativity and innovation in presentation• Arrangement, or choreography of movement• Achievement of purpose

Applying criteria could include;• Elements of composition and the way they are used• Choreography• Creativity and innovation• Choice of music• Presentation• Costume and make up• Technique of performers

Effectiveness of the work Review?? See review worksheets to assist in evaluation of the work

INTERPRETATION – See worksheets studied during class time, for detail

CONTEXT The circumstances that form his work include the following:

Context – The background of the work / choreographer; the era the choreographer grew up in, the era the work was created and set in; the circumstances or facts that surround a situation or event. E.g.: – political, social, historic - the circumstances that form the setting for an event, statement, or idea, and in terms of which it can be fully understood.

SEE YOUR RESEARCH RESULTS FOR SPECIFIC INFORMATION

GENRE EXPRESSIONIST DANCE - 1920s The predominant form of dance in the Germany of the Twenties was designated expressionist dance. Its most important representatives were Rudolf von Laban and Mary Wigman. Both possessed an understanding of dance that was a philosophy of life that explained dance as a metaphysical experience. All had in common the striving to bring to expression an individual world vision, through a dance touching on natural body movement.

Applying criteria could include;• Elements of composition and the way they are used• Choreography• Creativity and innovation• Choice of music• Presentation• Costume and make up• Technique of performers

Effectiveness of the work Review?? See review worksheets to assist in evaluation of the work

Post Modern/Contemporary Dance - 1950s to present Eclectic use of modern and classical techniques for the dancers training, eclectic use of choreographic vocabulary on stage, ‘performance’ instead of show , dance has a social and political function as much as an aesthetical function, names of dance trends associated: Post-modern dance, New dance, Young dance, Dance-theater, Contemporary ballet.

Ek’s movement style is characterised by several signature steps: flexed feet, grand pliés à la seconde, lunges, “wavy” backs, all designed with the same aim, expression!

…all of Ek’s works have one thing in common: they put the focus on the disadvantaged, the ignored and those who are considered “weak” by society.

MEANING/SUBJECT MATTER

What is intended to be … See COMPONENTS & ORGANISING MOVEMENT above information regarding each section and motif meaningSee worksheets on INTENT/SUBJECT MATTER/MEANING

“Apartment is the place where we spend our lives, in close proximity to ourselves and others, where life’s rich pageant unfolds. But at the same time, “appartement” means “separation” and “isolation” - a place, which can simultaneously be personal and “apart”. The title of the ballet became compelling during the latter stage of preparation in Paris, encapsulating as it does various images and actions, which do not tell a story but can be linked to this key word. Not everything is connected with the concept, however. You will notice a zebra crossing. In reality it is situated in front of the Mistral bistro in Paris, next to the municipal theatre, where for many years I have had the opportunity to observe the everyday interplay of the passers-by.” Mats Ek

SIGNIFICANCE Significance – What significance does it have? To the audience, to the choreographer, to the dancers, to the time period To be significant; is to stand out, to be important, to be noteworthy, to pay attention to, to be noticed, to raise discussion, to be memorable.

SIGNIFICANCE of the work – Mats Ek has presented a work with the universal concept of HUMAN EXISTENCE (domestic life, relationships, emotions)

“I predict a long shelf life for this work of art, for it is no doubt that – an incredible, honest testament of the human condition. Created by a living genius.” (Michael Montgomery – critical dance)

EVALUATIONWORTHMERITSUCCESS

See also Significance

Career highlights:oDanced with Cullberg Ballet, Düseldorf Ballet and Nederlands Dans Theatre (NDT)

oChoreographed his first work for Cullberg Ballet in 1976oBecame co-director of Cullberg Ballet (alongside his mother) from 1978 to 1985, and sole director from 1985 to 1993.o Left Cullberg Ballet in 1993 to become a freelance choreographer.oHas choreographed works for major companies like NDT, Hamburg Ballet, Cullberg Ballet and Paris Opera Ballet.oWon the Prix Benois de la Danse (2006) and has been awarded several Emmys for TV adaptations of his ballets

See reviews of the work provided

PRESCRIBED CHOREOGRAPHERS & WORKSERA/PERIOD WORKED

It is important for us to understand the socio/cultural context of any work that we study in Dance. Read the following information about the historical, socio and cultural context and consider how this may have influenced or had an impact on Mats Ek when creating “Appartement”REFER ALSO TO CONTEXT RESEARCH TASK

BACKGROUND & TRAINING

See MATS EK BOOKLET questions/answers you’ve completed for specifics

INFLUENCES See MATS EK BOOKLET questions/answers you’ve completed for specifics

CHOREOGRAPHIC STYLE

Choreographic style is the way a choreographer devises movement content and structures a work. Blom & Chaplin (1986) – it’s a fusion of personal and artistic preferences that characterises someone’s choreography

See MATS EK BOOKLET questions/answers you’ve completed for specifics

PRACTICE ESSAY QUESTIONS FOR UPCOMING EXAMS

How does the movement and stage design assist in conveying meaning in Appartement?

How does Mats Ek provide an engaging and entertaining view of domestic life through dance in Appartement ? In your response, provide examples from the work.

How does the choreographer repeat different elements to reinforce the intent?

HOW DOES MATS EK ACHIEVE VARIATION & CONTRAST THROUGH HIS ORGANISATION OF MOVEMENT?

Evaluate Mats Ek’s organisation of the dance in effectively conveying the intent of the work Appartement.

1. How does Ek use dancers and relationships to present ideas in his work Appartement?

In your answer you may consider:- Solos- Duets- Trios- Groupings- Female groups- Male groups- Gender specific movement- Dancers training and background – classical style, ballet company- Variety of relationships presented: intimate, different emotional states and tensions, friendships, youth and playful- How relationships are portrayed through choreographic devices: proximity/use of space, partner work, unison, canon, complimentary and contrasting movement,

repetition, etc- Use of costume and other theatrical elements eg lighting and sound- Episodic structure (how ideas are presented)

2. Explain how Mats Ek explores aspects of society through his choreography. In your response, provide specific examples from Appartement.

3. Evaluate the choreographic tools Mats Ek has used in Appartement to successfully communicate the intent.

4. Explain how Mats Ek has conveyed meaning through the use of movement and aural elements in Appartement. In your answer provide examples from the work.

HSC Verbs:HOW DOES - By what means – consider the processes, techniques, steps and ideas behind the issue/s or concept/s

Syllabus connection:Analysis – components and interpretationThe choreographer – communication of ideas through the work

5. Explain why Mats Ek’s Appartement is considered a significant work. In your answer provide examples from the work.

6. 2015 How does Mats Ek provide an engaging and entertaining view of domestic life through dance in Appartement ? In your response, provide examples from the work.

Answers could include:

Domestic life related through dance to everyday situations:

daily activities relationships of dancer to dancers and dancers to props and dancers to musicians occurrences within 11 rooms of the apartment bringing the outside in movement/actions/relationships and space/time/dynamics production and compositional elements

How is the work engaging and entertaining –

situations that the audience can relate to – empathy, sympathy quirkiness or unusual use of movement or choreographic style and production elements- costumes, props, set, lights, costume, music, unusual involvement of dancers unexpected nature of some of the occurrences- eg movements that are not usually explored, things that happen suddenly, things that shock, things that are taboo, props used

in an abnormal way unique use of space, time and dynamics stylised pedestrian movements

use of humour and irony and shock tactics incorporates other elements such as the use of the voice, conversation, music, lights and sound use of the curtain for multiple purposes- entrances and exits, the relationship of the band to the dancers.

7. How does Mats Ek use movement to communicate ideas in Appartement ? In your response, provide examples from the work.

Answers could include: Movement

Pedestrian movement Athleticism of the movement Twisting and squirming/contortionist low level movement Motifs

Communication of ideas:

A snapshot of society through life in an apartment Everyday life Relationships Gender roles Generation roles Household tasks Emotional response The simplicity/complexity of everyday life

Genre – Ek’s choreographic style as a reinterpretation (mix) of ballet and diverse contemporary dance techniques – Prolongation and extension of the movements – Foot or head stays in position while the body goes to the next movement – Manipulation of the body’s centres of gravity

8. 2017 - Explain how Mats Ek represents these ‘imaginative interpretations’ in Appartement . In your response, provide specific examples from the work.


Imaginative interpretations

Embellishment of occurrences within everyday situation – use of humour, irony and shock tactics eg use of toilet, vacuum cleaner and couch Ek’s choreographic style as a reinterpretation (mix) of ballet and diverse contemporary dance techniques The extraordinary expression of the ordinary and mundane through 11 scenes in a non- narrative form Concept of symbolism – image – idea – emotion as opposed to storyline/narrative Commentary on modern living Relatable situations which create empathy with the characters

Incorporation of the voice and music.

Communication of ideas

A snapshot of society through life in an apartment Everyday life Relationships Gender roles Generation roles Household tasks Emotional response The simplicity/complexity of everyday life.

9. 2018

1. Explain how Mats Ek’s choreographic choices in Appartement convey meaning to his audience.

In your response, provide specific examples from the work.


Communication of ideas:

A snapshot of society through life in an apartment Everyday life Relationships Gender roles Generation roles Household tasks Emotional response The simplicity/complexity of everyday life

Movement, emotions and feelings

Stylised pedestrian movement Athleticism of the movement Twisting and squirming/contortionist low-level movement Motifs Genre

– Elongation and extension of the movements – Foot or head stays in position while the body goes to the next movement – Manipulation of the body’s centre of gravity

Unique use of space, time and dynamics to produce from the audience an emotional response to everyday experiences – shock, laughter, empathy, crying, worry

Dancers create emotions through performance to support interpretation of ideas.

Choreographic choices may include:

pedestrian movement athleticism of the movement twisting and squirming/contortionist low level movement motifs unique use of space, time and dynamics relationships between the dancers dancers showing emotion to support meaning genre

– Ek’s choreographic styles as a reinterpretation of ballet and diverse contemporary dance technique – extension of the movements – foot or head staying in a position while the body moves onto the next position – manipulation of the centre of gravity

spatial design, formations, positioning of the dancers performance space – props, set, costumes lighting design sound design.

Meaning:

a snapshot of society through life in an apartment everyday life relationships gender roles generation roles household tasks emotional response the simplicity/complexity of everyday life a commentary on modern life relatable situations.

10. 2019

1. ‘Mats Ek’s Appartement continues to be regarded as a seminal work.’

Evaluate this statement, providing specific examples from the work.


Agreeing or disagreeing with the statement and making judgement of the Work’s merit and as a seminal work

Embellishment of occurrences within everyday situations through space, time and dynamics – use of humour, irony and shock tactics appeals to a broader audience

Ek’s unique choreographic style as a reinterpretation (mix) of ballet and diverse contemporary dance techniques supports its recognition as a seminal work

The extraordinary expression of the ordinary and mundane through 11 scenes in a non- narrative form creating interest for an audience Concept of symbolism – image – idea – emotion as opposed to storyline/narrative Use of solos/duos/trios to demonstrate close relationships living simultaneously next to strangers reflecting real life Pedestrian movement reflective of everyday domestic happenings Quirkiness or unusual use of movement or choreographic style and production elements – costumes, props, set, lights, costume, music, voice,

unusual involvement of dancers The concept of relationships and society through life in an apartment, relatable situations which create empathy with the characters Episodic structure demonstrating simultaneous happenings, similar to common entertainment eg television movies, social media, books Images and actions which show the disconnected nature and relationships of people living together under the same roof

Human nature of being close and separate communicated through arguments, intimacy, love, anger, thoughts, feelings, actions Athleticism of the movement Combining of dance and theatre increasing the accessibility to audiences Importance of the ability of the dancer to accurately present Ek’s ideas Individual expression and emotion are more important than the aesthetics of the movement.

Documents

mndiocesandance.weebly.com · Web viewAPPARTEMENT – MATS EK (2000)Opera National De Paris. MAJOR STUDY APPRECIATION – SEMINAL WORK. STUDY GUIDE. Choreographer: Mats Ek. Original