Dance_Performance_Review

| ESSAY ON WETHER THE COREOGRAPHERS INTENTION AND THEMES WERE PORTRAYED THROUGH THE USE OF DIFFERENT TECHNIQUES. WHAT TECHNIQUES WERE USED' | | THE POISON FISH | 4/21/2009 | | The choreographer, Stephen Page, has created ‘Call-The Poison’ Fish as part of the production; Fish- An Unborn Soul, featuring the Bangarra Dance Theatre, a “...very theatrical, contemporary work....exploring the Koori culture particularly mythology and tribal structures”. Page has effectively, comically yet dramatically shown the story of a poison fish through the use of non-movement components including; lighting, sound, backdrops, and water on the stage, as well as the type of movements in each part and the spatial arrangements. I viewed this contemporary dance piece on video and so film work is also a way in which the choreographer’s intention is put forth. There is no given theme, and so each responder must create their own meaning from the piece and so the choreographer has succeeded in his intention. There is however a storyline that is evident; the thoughts of the poison fish; we see lonely, caring and hopeful thoughts displayed through different sections of the piece. Within the contemporary dance piece ‘Call- the Poison Fish’ the use of non-movement components is specifically vital and obvious. Page has used a reddish-pink coloured, dark toned backdrop continually throughout the piece which reinforces the idea that the dance is taking place in an underwater world. The lighting that has been used is constant and always leaves the stage in just enough light to see the dancers whilst not lighting up the stage completely, this again adds to the idea that the dance takes place in a space where light is scarce. There also appears to be a thin layer of water sitting on the stage, that is danced in which reinforces the idea of the dance taking place under water. Non-movement components such as the backdrop, lighting and water on the stage are used to reinforce the idea that this dance piece takes place underwater. The sounds and music changes as each part begins and ends, setting the scene and establishing the emotions involved with each part. In the first part the music is lively and hopeful and this leads the audience to feel as though the poison fish could fit in with the other fish and as the second part begins the music turns to sound and voices are heard continually chanting something in a foreign language, which positions the viewers to remember the lone poison fish whilst the other fish are happily dancing. The third part starts and we hear slow, depressed music making the audience feel sorry for the poison fish who is all alone, and at the end of the piece the fourth part begins and the music is dreamlike making viewers feel as though the final part of the dance is the poison fish’s dream. Music and sounds play and important part in showing the choreographers intention for this contemporary dance piece. The types of movements used by the choreographer are also vital to the intention of the choreographer being put forth. One type of movement that is very common to the whole piece is when the dancers dances as though they are floating, every movement is done in the same timing and at the same pace, it appears as though gravity has no effect on the dancers and this type of movement leads the viewers to feel as though it is taking place underwater where the water controls the speed of movements as well as makes the dancers float. There is allot of floor work in this piece, we see the dancers quite often rolling around the floor as if on the ocean floor. Some typically known ‘fish movements’ such as two hands together in front of the body are used which reminds us that the dancers are portraying fish. The types of movements used by Page are successfully used to set the scene in which the dance takes place. Page has used an interesting spatial arrangement in this piece which while unique, suits the production and the storyline. Both personal space and general space are used effectively to portray wether the dancers are alone or in a group. When the dancers are alone personal space is used and it represents that the dancers cannot be with the other dancers for different reasons. When dancing in a group general space is used this positions the audience to feel as though the dancers are happier than in personal space. There is in the middle of the dance a duet in which the dancers, who resemble fish, dance in personal space together without touching. This is very effective as it looks as though they are underwater and water is between them, which once again remind the audience that the dance is about fish and therefore taking place underwater. The used of space by the choreographer is very successful in portraying the theme and intentions of this dance piece. This piece was performed specifically for the purpose of filming, and creating a video from it, and so film work is a important part of this piece. There are many instances in which one image is overlayed on top of another image which is better than the traditional way of only showing one section of the stage at a time. There is also slow motion sections in which emphasis is placed on what one person is doing at each time, this draws the viewers attention towards whatever it is the choreographer wants to emphasis. As it is filmed the ability to fade in and out is also used which is a different way to end each section rather than simply turning of the camera. Film work plays an important part in the presentation of this film but does not have much effect on the portrayal of the purpose nor intention of this dance piece. Stephan Pages purpose and intention of the contemporary dance piece Call-The poison Fish part of the production Fish-An Unborn Soul has been shown through the use of; non-movement components, the type of movements, the spatial arrangements and the film work used. All the techniques used together portray the storyline intended by the choreographer. The theme that the choreographer anticipated is unknown so each person creates their own using the given storyline. The choreographer has successfully portrayed the intended themes and storylines.