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' life sentence of Christopher Bruce Christopher Bruce was born on the 3rd of October 1945 in England, he started studying dancing at 11 geezerhood old, and he began with tap and ballet. After studying at the Rambert School Christopher Bruce joined Rambert concert jump in 1963, where he right away became the leading male leapr. Bruce appeargond in full-page caboodle such(prenominal) as Don Quixote in 1964 and Coppelia in 1966. Then the fri deceaseship began to experiment with ballet and modern, trust them to form, specifically the Martha Graham technique. Martha Graham created 181 ballets and a dance technique that has been comp atomic number 18d to ballet in its scope and magnitude. legion(predicate) of the great modern and ballet choreographers permit analyze the Martha Graham Technique or eat up been members of her company. ) When Bruce danced the division of Pierrot Lunaire, his own interpretive skills were noticed. Bruce was â€Å"dominating e genuinelything- pract ically supporting the incite”. Bruce wherefore clobber oned with Glen Tetley, he discovered that â€Å"the motivating for the consummation comes from the centre of the body… rom this p bentage we use unadulterated ballet as an lengthening to give wider lead and diverseness of movement” In 1977 he was appointed associate handler of the company and was its associate choreographer from 1979-87, he created over twenty whole kit for the company. Between 1986-91 he acted as associate choreographer to a fault for London Festival Ballet, later ENB, and resident choreographer for Houston Ballet in 1989. In 1994 he became artistic director for RDC. Often semipolitical in his work, he integrates classical ballet and modern dance, often set against general music by artists like Bob Dylan, curl St superstars.His productions include ‘Cruel Garden, 1977, ‘ shade Dances, 1981, ‘Swansong, 1987, and ‘Rooster, 1991. Influences Social and p olitical writings emerge as naturally as a reflection of his own concerns, although his aim is always fore virtually to create a plot of ground of dance, rather than to vex a statement. Nevertheless, he does not see a conflict between creating interesting movement and tackling thorny issues. He believes that there is much beauty in speck Dances and similar works. Bruce is typically known for use themes that focus on personal or political issues.He has created abstract pieces notwithstanding even these have a unshakable undercurrent of emotion. Bruce uses a wide range of starting points, particularly poetry, literature, music, newspaper articles and world events. For recitation ‘… for those who die in cattle reflects his views and concerns of war, ‘rooster is his idea of relationships, ‘swansong is probably one of his most pitiable and emotional pieces and tackles the truly honorable issue of torture. His views on the general adult male experimen tal condition are portrayed in ‘waiting.Throughout his career, Christopher has been a strong supporter of Amnesty Internationals ideas and by his choreography he has voiced his concerns for society, the persecuted and dupes of a wide range of homophilee rights screams. conviction and again he has fruited to these themes and in his most recent work â€Å"grinning in your position”, these concerns are articulated as powerfully as ever. The Arts have an important social occasion to bunk in exploring social issues and dance toilet be seen as the most homophile of the Arts as it is based on the body.The image of the tortured prisoner from â€Å"swansong” or the unjust imprisonment of Reuben Carter, in â€Å"Hurricane” are far much powerful than mere oral communication can ever be. Video extracts of Christophers work have been employ to reinforce talks about human rights abuse. In the 1970s the focus for Bruce was South America and Pinochets all- fired coup against the elected All fetch upe government in Chile. He was deeply moved on the meeting of Joan Jara, who was tortured and murdered by Pinochets forces. This meeting lead him to choreograph, tint Dances.He took the theme of the day of the dead, simple symbolism and natal dance movements as a basis to come the plight of the innocent people of South American down the ages and their courage in the face of adversity. Certainly, go Dances has a tremendous impact and audiences in more countries have delighted in its distinctive, rhythmic movement arrangeed to haunting American tunes. However, it is the representation of the subjugation of medium people, symbolised by the sinister ghost figures, which give the work much of its resonance.On the evidence of ghost dances, swansong, and cruel tend (about the death of Lorca at the hands of the fascists in Spain), human rights themes have provided him with a strong source of inspiration. He remains a passionate advocate for the role of dance and the arts in society and believes that seeing good work and the chance to perform, either as an amateur or a professional, an not yet enrich lives, but can also be civilising influence. tactile sensation dances It was created in 1981, and was influenced by the political oppression in Chile.The modal value was present-day(a) ballet blend with South American folks dance. The setting of Ghost Dances is a rocky Andean location suggesting the emit of a cave. The colours (blues, greens and greys) of the backdrop were really encumbranceive and complimented the costumes and movement by adding to the eerie atmosphere. The whole stage was lit by a inglorious white light. The ‘dead wear e genuinelyday clothes, which are beginning to disintegrate. The Ghost Dancers appear as skeletal figures in striking skull masks. The piece is accompanied by Andiean folk music, with panpipes, guitars, and flutes.The tune is infectious, rhythmic and tuneful. The style of the choreography is sinuate and graceful, incorporating folk-dance influences. The Ghost dancers style of dance differs to the style of the ‘dead. The Ghost dancers use very(prenominal) off balanced and angulate Movements, there heads are the main key I think to making their dancing look as threatening as it does, they move them very quickly and sharply in unison and it creates a very menacing effect. The ‘dead, on the other hand are very free flowing and graceful, their posture is very open chested and balletic with very neat but complex foo cardinalrk.I loved this piece and the skills used to perform it. The fluid motion alongside traditional Chilean folkdance was original and inspiring to watch, it was a very moving piece and had a big impact on me because of the real life issues behind it. Swansong This piece was created in 1987 and was influenced by the urgency of political prisoners, the style was contemporary ballet and the prisoners movements were based on the id ea of a swan. The piece is generally based around the fate of political prisoners and their need to break free.Swansong is a deliberately disturbing dance showing a dupe being tortured by a variety of means, although there is no actual violence on stage. It shows both(prenominal) the aggressive and sadistic element of interrogation, and how brainwashing, sphacelus and playing with emotions can all be part of a long, nerve- racking secret plan. In combining vaudevillian humour, balletic virtuosity, and contempory dance expressionism with such a serious theme, he seeks to create work that can be appreciated at a number of levels by a broad audience.The triplet dancers are costumed archetypally and very much resembled the set, it was all very simplistic, with the prisoner in just a plain t-shirt and jeans and the two guards are wearing vaguely militaristic chromatic trousers and short- sleeved shirts could be viewed as policemen, soldiers, or guards. course notes have tended nei ther to give names to the calibres nor to finalize roles †choosing ins tead to scarcely list the cast and forfeit audiences to make their own interpretation.The prisoner uses a very graceful and flowing style of dance whilst in contrast the two guards dance in a modern, camp manner, highlighting even more the insularism and difference between the guards and prisoner. The simplicity of the staging and equivocalness of the characters lends weight to its universality. The action could be taking pasture anywhere in the world. The stage is pertinacious and apparent with the exception of a unmarried wooden death head lit starkly from above, indicating perhaps a single bulb-hanging overhead in an otherwise empty room.There are seven pieces in swansong; all(prenominal) has a variant theme and style. ·Section 1, questions and answers. Throughout the first partition the dance suggests the interrogators and victim playing a game of cat and mouse, the dance changing from trios to brief duets and aviates. in the duets the interrogators dance in unison, performing the same square one after the other or slightly varying the steps to attack their victim. ·Section 2, tea for two. The fragment section begins with another interrogation academic session during which the due south interrogator walks round his eated victim, and this time the victim taps out ‘answers but in a defiant mood. The interrogators change tatics. ·Section 3, first solo. The ternary section is a solo for the victim solely on the stage and it is more lyrical both in music and movement than the proceding sections. It contrasts with the torture antecedently shown, appearing to be a cry of foiling and anger at the victims situation as strong as evoking his urge for freedom. ·Section 4, slow trio. The victim immediately tenses and flinches as the first interrogator r to each onees towards him, and then relaxes when he is not harmed.No questions are asked. Again the porta sequence is performed twice but at the end of the chair is moved so that the victim cannot return to it. This becomes a recurring theme of this dance; the victims chair is repeatedly pulled away from under him or set(p) just beyond his reach. He is pushed and thrown around, the effect of the violence is in slow motion. The victim curls defensively on the floor and is uncurled by the second interrogator and the torture continues. ·Section 5, second solo without accompaniment.Although this section repeats dance motifs from the first solo such as the jumps and arabesques suggestive of flight, it is generally more mimetic. The victim lifts the chair onto his back to make it appear he is carrying a huge weight on his shoulders. He then stands facing the audience staring by means of the exclude of the chair, then he appears to crumble in frustration and the solo ends with his ankles trapped in the bars of the chair as if fetted. ·Section 6, cane dance. The attainment of the piece shows a build up of abuse and humility of the prisoner till the final section where the prisoner performs his last solo, his ‘swansong.Rooster This piece was created in 1992 and in contrast to my other two elect pieces is influenced by the Rolling stones; the dance is based on the theme and context of the music. It is danced in a contemporary ballet style blended with modern dance to pit the music. The set is a clear stage with realistic lighting and a white spotlight. The women wear saturnine skirts, tops and tights and the men wear scurrilous trousers and a skirt, a red dress is languid only in one number and that is ‘ ruddy Tuesday.The whole piece is danced to rolling stones music ranging from public assistance fast and rocky numbers to slower more relaxed music. The theme of each song in ‘rooster reflects the character that is dancing it, none of the dances are linked, and each section occurs simply because of the different songs that are used, this helps to create an periodic structure. The tempo of the music dictates the style of dance; the prompt tracks are modern and contemporary whilst the slower ones are more balletic.This piece does not present a great deal of emotional involvment with the audience; it is simply based on the theme and context of the music. You can see this by the fact that the dancers, the style of dance and the music purely dictate the song. A Time line of dance works which have been choreographed and produced by Christopher Bruce ·1969 George Frederic ·1972 ‘… for those who die as cattle ·1974 Weekend ·1975 Ancient voices of children ·1976 vitriolic Angels ·1976 Promenade ·1977 Cruel Garden ·1981 Village Sounds ·1981 Ghost Dances ·1984 Sergeant earlys dream 1984 Intimate Pages ·1985 Silence is the end of our song ·1985 Land ·1987 The dream is over ·1987 Swansong ·1989 melody in three movements ·1990 Journey ·1992 Rooster ·1995 comi ng together point Section B Producing our own piece of choreography in the style of Christopher Bruce in groups. How has the work of the choreographer influenced and inspired my own performance and choreography? I chose Christopher Bruce because of the influences behind his choreography, the real life human rights issues that through symbolism he has transferred this into dance.He has successfully brought more cognisance to serious issues that most people would not be aware of because it is not going on in this country. The fact that this affects Bruce personally is very inspiring, as his pieces have real meaning and thought behind them. The three works by Christopher Bruce that I have chosen to study are ‘ghost dancers and ‘swansong because of the political human rights issues that influenced them and ‘rooster because it was a contrast to the other two as its influence was the celebration of the Rolling Stones music.I thought these pieces complimented each other well to evaluate as each bears a large variation of accessible motifs, images and sequences of movement that I could re- interpret in my choreography in the style of Christopher Bruce. As it gave me the opportunity to analyse a variety of influences and issues behind the three pieces. Choreographic notes We choreographed a piece for a trio in the style of ‘rooster. The set was clear other than three chairs that were used within the dance. We were dressed all in relentless and wore red scarfs round our necks. The lighting of the set was dark red\r\n'