Infra GCSE Resource

ANALYSIS
50
Section number | NAME | Time
What do you see?
Zoning In
Physical setting
What do you hear?
Image
Brief description
Entrances/Exits
Action, Space, Dynamics,
Lighting, set, costume
Aural setting (sound)
Number of dancers/Mood
Relationships
Section 5 | ALONE | 13:20-14:49
A male solo dancer enters the space
Action: walk, turn, undulate, extend,
Lighting: A warm yellow pool of light
The soundscape for this section
Male Solo
Eric Underwood
on a change in sound and lights with
a fast, confident walk. He performs a
strong yet fluid solo using a stylized
unfold (développé), flick foot, drop
(into full plié), kick (grand battement),
ripple, circular arms, jump/elevate
fills the space downstage centre
(foreground). The dancers in the
upstage area (background) are visible
consists of distorted shortwave
radio noise and a quiet, repetitive,
percussive rhythm created
contemporary movement vocabulary.
(temps levé, sissonne, ballon), push,
with low lighting.
electronically.
A male/female couple appear in
balance (in arabesque)
Set: The steady flow of two to five
The music and movement do not have
the background, performing a more
Space: linear and curved floor and
digital characters continues.
a direct relationship but the percussive
pedestrian gestural movement style,
almost like mime. The male soloist
confidently walks off stage right.
air pathways, forwards, backwards,
sideways, low, high, middle, diagonal
facing, big
Costume: The male soloist wears black
trousers and no top.
rhythm creates the atmosphere and
drive for the movement.
The mood in this section is light and
Dynamics: fluid, smooth, expansive,
the colour of the lighting is warm
with breathe, quick, bouncy, bound,
suggesting heat. The male dancer
sustained, direct, indirect, explosive,
delivers a confident, relaxed, outward
continuous, sudden, sharp, sustained,
performance.
controlled
The movement vocabulary is
Relationships: solo, contrast with
contemporary in style using some
couple in background
ballet language, particularly with
the elevations. It also includes
body ripples, hip and arm gestures
suggesting a Cuban influence.
Expressive skills: open, projection,
sensory, ‘declared’ performance style
Eric Underwood in Infra
©ROH/Bill Cooper, 2010
Section 6a | ECSTASY | 14:49-19:00
Duet 3
Lauren Cuthbertson and
On a music and lighting change the
couple in the background of section 5
start a conversational duet.
Action: turn, elevate, lean, gesture,
extend, transfer of weight, deep bends
(full plié in second position)
Lighting: The lighting increases
opening up the stage with soft
patches of white light.
The music has a sudden change at the
same time as the duet starting and the
lighting state changing.
Ricardo Cervera
The mood of the duet is intimate,
demonstrating support and degrees of
freedom through the movement.
Space: circular pathways, different
directions, three dimensional use of
space, different levels, big (Wayne
Set: The steady flow of two-five digital
characters walking in both directions
continues.
The live string quintet performs
a variation of a previous rich and
melodic piece.
The movement vocabulary is
McGregor’s term for this is ‘fat’)
Costume: The male dancer wears
contemporary ballet with an effortless
quality. There are a number of times
where the female dancer is lifted
upside down and suspended in the air.
Dynamics: indirect, flowing,
suspended, effortless, strong and light
Relationships: contact, action and
reaction, lead and follow
a grey sleeveless top and grey shorts.
The female dancer wears a white
vest top and a short black wrap
around skirt.
The male dancer exits walking off
stage left, while the female dancer
continues to perform.
Ricardo Cervera and Sarah Lamb in Infra
©ROH/Bill Cooper, 2010