TEACHER’S RESOURCE PACK - New Adventures
Transcript of TEACHER’S RESOURCE PACK - New Adventures
New Adventures in association with Sadler’s Wells presents
TEACHER’S RESOURCE PACK
CONTENTS:
1. UsingthisResourcePack 2
2. IntroductiontoThe Car Man 3
a) Plotsynopsisb) CarmenandThe Car Manc) KeyThemes
3. ProductionElements 7
a) Setb) Costumec) Musicd) Lightinge) Sound
4. Worksheets 9
a) WorksheetA: Everyday movements and gestures 9
b) WorksheetB: Characters 12
c) WorksheetC: Duets 14
5. ReflectingandReviewing 16
6. EssayQuestionsandAdditionalResources 17
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1. USING THIS RESOURCE PACK
ThispackaimstogiveteachersandstudentsfurtherunderstandingofMATTHEW BOURNE’S THE CAR MAN.
• Itcontainsinformationandmaterialsabouttheproductionthatcanbeusedasastimulusfordiscussionandpracticalactivities.
• ThereareworksheetscontaininginformationandresourcesthatcanbeusedtohelpbuildyourownlessonplansandschemesofworkbasedonThe Car Man.
ThispackcontainssubjectmaterialforDance,Drama,English,DesignandMusic.
C Discussion
a Practical exercise
Written work
Thesymbolsabovearetoguideyouthroughthispackeasilyandwillenableyoutousethisguideasaquickreferencewhenrequired.Theywillappearthroughthepackassymbolshighlightingfurtherworkthatcanbedone.
Therearealsoanumberofrelatedactivities,practicalexercisesanddiscussionideasthatcanbeusedtodevelopideas,workshopsandasastartingpointonwhichtouseforyourowncourserequirements.
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2. INTROdUCTION TO The Car Man
a) Plot synopsis
MusicbyTerryDaviesandRodionShchedrin’sCarmen Suite(afterBizet’sCarmen)SoundbyPaulGroothuisLightingbyChrisDaveyDesignedbyLezBrotherstonDirectedandChoreographedbyMatthewBourne
TheCarManisadanceintwoacts,setinafictionalmid-westItalian-AmericantowncalledHarmony.Thestorycentresaround:Luca – AdrifterDino – OwnerofDino’sDinerandGarageLana – Dino’swifeRita – Lana’ssisterAngelo – Rita’sboyfriend
ACT ONEWelcometoHarmony…
Whenastranger,Luca,arrivesinHarmonyhetakesajobatDino’sgarageasacarmechanic.Hispresencehasanimmediateeffectonallthoseinthetown.Lanatriestoresisthisallurebutendsupsuccumbingandtheyembarkonapassionateaffair.LucaalsobefriendsAngelo,whoisbulliedbytheothermechanicsandhehelpshimtofindconfidence.AngeloalsofallsinlovewithLuca,unbeknownsttohisgirlfriendRita.DuringaweddingpartyDinostartstosuspectthatsomethingisgoingonbetweenLanaandLucabuthedismissesthisidea.Afterthecelebrationsareoverhegoesout.WhenhereturnshefindsLanaandLucatogether.AfightbreaksoutbetweenDinoandLucaduringwhichLanahitsherhusbandovertheheadwithatoolfromthegarage.Dinoisonthefloorcoveredinbloodbutnotyetdead.LanahandsthetooltoLucatogiveDinothefinalblowthatwillkillhim.AngelofindsDino,andasthepolicearriveLanathrowsmoneyalloverthefloor,ripsherdressandpullsAngeloontopofhertomakeitlookasthoughAngelohaskilledhim.Angeloisarrestedandputinjail.
ACT TWOThescenebeginsinabarandLanaandLucaarenowtogetherasacouple.LucaishavinghallucinationsaboutthedeathofDinoandthearrestofAngelo.ThisangersLana,shethinksthatthisisasignofweakness.Lucatriestoprovehimselftoherbyinvolvinghimselfingambling,carchasesandfightnightstoprovehisstrength.
AngeloisstillinjailwhereRitavisitshimandtellshimofwhatreallyhappenedonthenightofhisarrest.Shetellshimthathewasframedforsomethinghedidnotdo.HeisangeredbythisnewsandafterRitahasleftheescapesfromjail.AngeloreturnstoHarmonytofindLanaandLuca.HecapturesRitaandholdsherhostageuntilLanareturns.DuringthefightnightheappearsandfightswithLuca.AngelokissesLucapassionatelybeforepushinghimaway.LucapullsoutagunandholdsittoAngelo,heisabouttopullthetriggerwhenLanafiresashotfrombehindthatkillsherlover.
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b) Carmen and The Car Man
Composer:GeorgesBizet.Libretto:HenriMeilhacandLucovicHalevyafterProsperMerimee’snovel.
TheoriginalCarmenisanoperainfouracts,setintheSpanishcityofSeville.Thestorycentresaround:Carmen – AgypsyDon José – AcorporalwhoisinlovewithCarmenMicaëla – ApeasantgirlwhoisbetrothedtoDonJoséZuniga – DonJosé’scaptainEscamillo – AmatadorwhoisinlovewithCarmen
Carmen,atempestuous,waywardandbeautifulgypsygirlisdesiredbyallmen.SheworksinaSevillecigarettefactory.Arrestedaftersheisinvolvedinafightwithoneofhercolleagues,sheisassignedtothecustodyofDonJosé,acorporalinthelocalbarrackswhosebetrothed,Micaëla,hasjustarrivedfromtheircountryvillagetolookforhim.ThoroughlybewitchedbyCarmen,Joséallowshertoescapeandishimselfplacedunderarrest.
Meanwhile,atthetavernofLillasPastia,CarmenandherfriendssinganddancewhilstZunigaattemptstowooherbutshethinksonlyofJoséwhohasbeeninjailforamonthandisduetobereleasedthatday.Theglamoroustoreador,Escamillo,arriveswithhisentourageandsetshissightsonCarmen.Althoughtemptedbyhim,shedecidestowaitforJosé.HearrivesatthetavernonhisreleaseandCarmentriestopersuadehimtoleavewithherinsteadofreturningtothearmy,herefusesbutbecomesinvolvedinafightwithhissuperiorofficer,Zuniga.AfterthisincidentJoséisforcedtofleewithCarmen.
HiddenawayinthehillsCarmengrowsboredwithJosé,sowhenEscamilloseeksheroutsheagreestoattendhisforthcomingbullfightinSeville.MicaëlaappearshavingfoundherwaytothemandpleadswithJosétoreturnhomewithher,Carmenurgeshimtogo.HerefusesbutMicaëlatellshimthathismotherisdying.JoseleaveswithMicaëlabutvowstoreturntoCarmen.
InSevillethetownpreparesforthebullfight,CarmenandEscamilloarrivetogetherbutJoseaccostsheroutsidethebullring,begginghertostartanewlifewithhim.SherefusesandtellshimthatshelovesEscamillo.AttheverymomentthecrowderuptsinexcitementoverEscamillo’striumphinthering,José,crazedwithgriefandjealousy,stabsCarmentodeath.
The Wedding Party - Act One, Scene Three
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Similarities and Differences:
The Car Manusesthethemesoflust,passion,revengeandmurder,whichareallassociatedwiththeoriginalopera.ThemaincharacterofCarmenissimilartothecharacterofbothLanaandLucainThe Car Man.LucahasamesmerisingeffectontheresidentsofHarmony,bothmaleandfemale.
CLookatthemomentthatLucaarrivesinHarmony.Whathappenstothemusic,lightingandthemovement?AstherearenowordshowdoesthischangeintempohelptoconveywhateffecthehasonHarmony?Whatimpactdoesthishaveonanaudience?
CLucaisthefirstpersoninThe Car Mantodancealone.Whatisthesignificanceofthis?Howdoeshissolocommunicateandintroducehimtotherestofthetown,inparticularthewayheinteractswithdifferentlywiththemenandwomen?Thereisrepeateduseofelevation,andhisdancehasastrongToreadorinfluence.
Whatdoesthissayabouthischaracter?Howisthisportrayedthroughdance?HowdoyouasaudiencemembersrespondtoLucaonarrivalinHarmony?
C ac) Key ThemesInsmallgroupslookatthemainthemesinThe Car Man: LUST PASSION MURDER REVENGE
Thinkaboutwhatimagesthesewordsconjureup.Usethesewordsandideastocommunicatethesethemestoanaudienceusingyourexistingskillsanddancetraining.
LUST:LanaisimmediatelyattractedtoLucaandhetoher.LanatriestoignorehisadvancesbutDinogiveshimajobanditisonlyamatteroftimebeforelustturnstopassion.
AngeloisrescuedfromafightbyLucaandadmireshim,LucabeginsteachingAngelohowtofightandstandupforhimself.Admirationdevelopsintoinfatuation.
Dino’s solo – Act One, Scene One
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PASSION:
CLanadancesasolo.Herdanceisflirtatious.Lookattheuseofelevation,compareLana’ssolotothedynamicsofLuca’ssoloinSceneOne.
DinogoesoutandeventuallyLanaandLucaarealone.LucagoestoLanaandpullsherintohisarms.Lanatriestoresistbutshesuccumbstohisadvances.Astheyenterintoapassionatedance,theresidentsofHarmonyfollowsuitaroundthem.
LanaandLucaarenearlyfoundtogetherbyDinobutLucaescapesjustintime.Inthenextsceneacouplearemakingloveinacar,LucaemergesfollowedbyAngelo,theykisspassionately.
MURDER:LanaandLucaarediscoveredbyDino.LucaandDinofight,LanapanicsandhitsDinoovertheheadwithawrench.HefallstothefloorandLanahandsthewrenchtoLucatofinishhimoff.
CTheactualdeathofDinoistheclimaxofhissuspicionsbeingaroused.DiscusswhattechniquesareusedtomaketheaudienceawarethatheisbecomingsuspiciousthatsomethingishappeningbetweenLucaandLana.Payspecialattentiontotheuseoflightingandofmusic.Theseareintegralelementsthatenhancetension.
REVENGE:AngeloisframedbyLanaforthemurderofDino.Heescapesfromjailwantingrevenge.HeholdsRitahostageuntilLanaandLucaarrivebackatthecaryardandthenhefightswithLuca.
aForfurtherexercisesonthisscenegotoWorksheetC
Lana’s solo – Act One, Scene Two
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3. PROdUCTION ElEMENTS – From Page to Stage
a) SetThedesigner,LezBrotherstonandthedirectorandchoreographer,MatthewBournedecidedtosetTheCarManinthe1960’s.TheybothwantedtorelocatetheactionfromSpaintohelpdistinguishthisproductionfromtheoriginalCarmenbutitwasimportanttobothBrotherstonandBournethattheproductionkeptaEuropeanfeel.
CInsmallgroupsorasaclassthinkofothersettingsthatCarmencouldbe‘re-imagined’into.
BourneciteshisinfluencesforthisproductionasbeingtheearlyViscontifilms,andinparticularOssessione(1943)basedonJamesM.Cain’s1934novelThe Postman Always Rings Twice.Thisfilmversionofthenovelisveryurbanandallthecharactersareveryreal.ThiswasamajorinfluenceonthedesignandfeelofThe Car ManandsoitwasdecidedtosetitinanItalian-AmericancommunityinafictionaltowncalledHarmony.Itwasdecidedthatthesamesetwouldserveforallthedifferentlocationsintheproduction.InActOnethesetisthecaryardandthediner.InActTwothesamesetisusedwithdifferentcoveringstoactastheinsideofthebarandwithadramaticchangeinlightingthesetbecomesaprisoncell.
CMatthewBournehassetThe Car ManinafictionaltowncalledHarmony.WhydoyouthinkBournechosethisname?Weseethenameveryclearlyatthebeginningandtheendoftheproduction.Howdoesitinformtheproduction?
Harmony – Prologue
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b) Costume Brotherstonpurposelydesignedthecostumestonotlooklikedancecostumes.Thewomenallwearpointybrasratherthandanceunderwearasthisisverymuchoftheperiod.Thedressesareloose-fittingwithbuttonsundoneandtheydanceformostofthetimeinbarefeet.ThemenarealltypicalJamesDeancharacterswithjeans,t-shirtsandloosecheckedshirts.Themenallwearworkbootsratherthandanceshoestomaintaintheperiodfeel.
CLezBrotherstonhasdesignedverynaturalisticcostumes.Howdoesthisinfluenceyourinterpretationoftheproduction?
c) MusicThescoreisallCarmenmusicwiththeexceptionofoneortwopieceswhichcomefromRodionShchedrin’sCarmen Suitescore.TerryDavies,thecomposer,didn’tusetheShchedrinmusicasonewholepiecebutinsteadhemixeditallupsoitisverydifficulttohearwhereoneendsandthenextonebegins.Themusicsoundsveryfilmicanditwascreatedspecificallyinthatway.Infilmsthemusiccanenhanceorcreatetheatmosphere,inthisproduction,asyouonlyhavethemusic,soitneedstonotonlyinformbutalsocreatetheatmosphere.Becauseofthisitisanextremelyimportantelementoftheproduction.
CMusicisnottheonlywaythatatmospherecanbecreatedonstage.Whatothertechniquesareusedinthisproductiontohelptellthestoryandcreateatmosphere?
d) lightingLightingisanextremelyimportantfactoroftheproduction.Asthereisonlyonesetusedlightingisaneffectivewaytoshowachangeinfocusandatmosphere.Forexample,inActTwothesetchangesfromonesceneinsideabartothenextsceneinaprisoncellwiththeuseofjustlighting.
CDescribehowthisisachievedintheproduction.
e) SoundSoundisusedinthisproductiontoheightenatmosphere,forexample,atthebeginningofSceneTwothereisthesoundofbuzzingintheairandinsectschirruping.ItisalsousedwiththecharacterofDinotogreatcomediceffect.
CThinkofsomeexampleswheresoundeffectsareusedaroundDino.Whateffectdoesthishaveontheaudience,howdoesithelpportrayhischaracter?Thinkofothermomentsthroughouttheproductionwheresoundisusedtoenhanceorcreateatmosphere.
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4. WORKSHEET AEveryday movements and gestures
Therearemanyeverydaymovementsthatarestylisedtomakethemintodancemovements.Thiscanbedonebyexaggeratingmovements,settingthemuptodifferentrhythmsandbeats.Inthefirstscenetyres,carsandchamoisleathersareusedaspropsandthemovementactionsareassociatedwithcars.Theshowerscenethatfollowsthisischoreographedusingverysimplegesturesbuttheyaretimedsothatitbecomesinterestingandexcitingtowatch.
EXERCISE 1
aACT ONE, SCENE ONE–Showerscene
• Createyourownbathinggesturesinpairs.Makesureyouusedifferentlevels• Joinwithanotherpair,usealineformation(ABAB)• Workoncontrastingphrasesandfindhowtheyconnectvisually.Whatlooksinteresting?• Adaptthetimingsothathighandlowlevelsareusedatdifferenttimes.• Addinamomentofcanonandunison.
Shower scene – Act One, Scene One
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EXERCISE 2ACT ONE, SCENE TWO.Thescenestartswiththebuzzingandchirrupofinsectsanditisclearfromtheoutsetthatitisextremelyhot.
CLookanddiscusswhatishappeningonstagetocreatethisfeelingofunbearableheat.Music: Whattempoisthemusic?Whateffectdoesthishave?Lighting: Describethelightinginthissection.Howdoesitaddtothemeaning?Sound: Whatothersoundsareusedotherthanthoseabove?Howdothesesoundscontribute
towardstheatmosphere?Movement: Themenusetheirshirtstostretchandmoveintheheat,thewomensit,exhaustedon
chairs,otherslieontheground,butallmovementsareslowandlanguid.Themovementisasimilarpacetothemusicbutwhatmovementsarebeingused?Howdothesemovementsindicateheat?Contrastthedynamicqualitiesofthisscenetothemechanicsdanceorshowerscene.
aIndividuallytryandimaginethisheat,thinkaboutwhateffectthishasonyourbodyandonthewayyoumove.
• Useashirtorachairifyouwouldliketouseapropandexperimentwithmovementsrelatingtothisscene.
• Choose2movementsandexaggeratethemovementtodevelopitintoamotif.Paycloseattentiontotherhythmofthemovement.
• Ingroupsofabout4–6,teacheachotherthemotifsandpracticevaryingdynamicsandspeed.• Createaphraseusingthemotifs,includingtransitionstolinkthem.Considerpathwaysand
directionoffacing.• Rehearsethissequence,workinginunison.Thissequencecanthenbedevelopedbyadding
repetitionandcanon.
Angelo’s solo – Act Two, Scene Two
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EXERCISE 3ExtendedpropworkFurthertotheexerciseabovesmallerpropsareusedthroughoutsuchascigarettes,towels,Angelo’schains.Eachofthepropseffectthemovementofthedancers,lookathoweachpropisusedthroughoutThe Car Man.
Forexample:ActTwo,SceneTwo.Angelo’ssolo.
CAngelo’shandsaretied–howdoesthisenhancehismovement?
• Thereisextensiveuseofdifferentlevelsincludingfloorwork.• HowdoesthissolodisplayAngelo’semotionalstateofmind?
a Individuallychooseapropfromthoseyouhaveseenbeingusedintheproduction.Findawaytointegratethispropintoapieceofmovement.Thinkaboutthefollowing:
• Howitinfluencesthewayyoumove• Howitchangesoreffectsyourfocus• Whathappenstoyourbodylanguage• Changethedynamicsofyourmovement,whatimpactdoesthishave?
Moveintopairsanddecidewhatpropyouaregoingtousebetweenyou.Usethispropinthesamewayasabovebutyoucanalsouseyourproptoplaywithstatusandmovementfromonepersontothenext.Findshapesthatyoucanholdwithyourpartner,thesemayinvolvecounterbalances,beingondifferentlevelsandbalances.Thepropyoudecidetousewillinformthestyleanddynamicofthemovement.Forexample.AcigaretteisusedduringthequartetinActOne,SceneOne.Itisveryplayful,andthepropispassedfromonetotheotherinarelaxedformation.ThiscontrastswiththeuseofthegunbetweenRitaandAngeloinActTwo,SceneFour.Thepropcreatestensionandfear.
CPresentyoursequencetothegroupanddiscuss.
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WORKSHEET BCharacters
The Car Manisaveryclearstorytoldthroughdance.Itfocuseson5maincharacterswhoarealllinkedwitheachother.
• Dino – Ownerofthegarage• Lana – Dino’swife• Rita – Lana’ssister• Angelo – Rita’sboyfriend• Luca – Adrifter
MatthewBournesaysthatindevelopingThe Car Manallofthedancershadtowriteabackhistoryfortheircharacter.
EXERCISE 1
CCanyouthinkwhatbenefitthismighthaveonthetellingofthisstoryandhowitmightimpactonthedancers’journeythroughouttheproduction?
EXERCISE 2
HowdoesMatthewBourneillustratethedifferentcharactersthroughhischoreography?Lookateachofthe5charactersandstartbywritingdown5wordsthatdescribeeachoneandhowthisisconveyedtotheaudience.Lookattheiraction,dynamicandspatialcontentandhowthiscontributestotheaudience’sunderstandingoftheircharacter.
Youmayfinditusefultowriteashortbackhistoryforeachcharactertoassistinabetterunderstanding.
RELATIONSHIPS DinoismarriedtoLanawhoishavinganaffairwithLucawhoisalsohavinganaffairwithAngelowhoistheboyfriendofRita.
Dino–Lana–Luca–Angelo–Rita
Luca and Lana – Act Two, Scene Three
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EXERCISE 3
aCreatingmovementfromtableaux
• Itmaybebeneficialforonegrouptoworkatatimesothatitcanbesharedwiththerestofthegroupanddiscussed.
• Inagroupof5youshouldeachadoptoneofthe5characterslistedabove.• Createatableauxorfrozenimagetoportrayeachcharacter.Youcanusesomeofthewords
fromtheexerciseabove.Thinkabouthowthecharactersmightstandinrelationtoeachother,butthecharactersshouldnotbetouchingatanytime.
• Youmaywishtointroducesomemusicatthispoint.Ideallyitwouldbeapieceofmusicfromtheproduction.
• Nowthinkabouthoweachcharacterwouldmove.Veryslowlystartmovingaroundthespace,don’tinteractwiththeothercharactersyet.Thinkaboutthefollowing:- Whatspeedareyouwalkingat?- Areyoulookingstraightaheadorareyouglancingaroundyouordown?- Whatstatusisyourcharacter?
• Whenthemomentfeelsrightbegintointeractwiththeothercharactersthataresharingthespacewithyou,howdoyoureacttoeachother,whateffectdoesthishaveontheothercharactersaroundyou.
• Inthisgroupthinkof3memorableorsignificantmomentsfromtheproduction.Ideallyitwouldbebeginning,middleandend.- Starteachmomentasatableauxandthenmoveslowlyintomovement.Payparticular
attentiontouseofspace,facialexpressionsandbodylanguage.- Eachmomentshouldlastnomorethan2minutes.- Sharethesewiththerestofthegroupanddiscusswhythosethreemoments
aresignificant.
BournebreaksconventionwiththecharacterofLuca.Heissetupasaconventionalmachocharacter.HearrivesinHarmonyandcourtsLanasoheissetuptobeaseduceroftheheroine.ItisthereforesurprisingwhenheentersintoanaffairwithAngelo.Bournedoesnotexpectedmodernaudiencestobetoosurprisedbythisrelationshipbutwithintheconventionsoftraditionaldanceitissurprising.
CThinkofanyotherplays,danceorfilmswherethemaincharacterdoessomethingtobreakconvention.Whateffectdoesithaveontheaudience?Whateffectdoesithaveonthestoryandthecharactersinthestory?Howdotheyreact?
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WORKSHEET Cduets
TherearemanyduetsthroughoutThe Car Man.Compareandcontrast.
EXERCISE 1
CRITA AND ANGELOTheirfirstduetinActOne,SceneOneisbothunsureanddelicate.Chairsareusedandtheliftsaremeasuredandgentle.
ContrastthiswithActTwo,SceneFour.ThisbeginsasasoloforRitawhenAngeloreturns.Apropisusedonceagainbutinsteadofchairsitisagun.
• HowhasAngelochanged?Andhowisthisshownthroughhisactionsanddynamics?• LookatRitainbothoftheseduets.Herbodylanguageinthefirstisopenandlovingbutinthe
secondduetsheisscaredandherbodyisstiffandunwilling.• Howdothedifferentpropseffectthemovement?
Angelo and Rita – Act One, Scene One Luca and Lana – Act Two, Scene Three
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EXERCISE 2
CLANA AND LUCATheirfirstduetinActOne,SceneTwoispassionate,intenseandstrong.ContrastthiswiththeirduetinActTwo,SceneThree.ItisclosingtimeattheclubandLucaisdrunk.HeishauntedbywhathedidtoDinoandAngelo,Lanamakeshimdancewithhertotryandforgetaboutwhathashappened.
• Lookattheuseofelevations,howdotheydiffer?Giveoneexampleofaliftineachduetanddescribehowtheyaredifferentandtheeffectthishasontheduet.
• HowdoLuca’sactionsanddynamicsshowthatheisdrunk?• Commentonthemusicinbothduetsandhowitinformstheaction.
EXERCISE 3Supports,counterbalancesandassistedliftsThereareexamplesoftheabovethroughoutTheCarMan,intheboththeduetsandthesolodances.InLuca’sfirstsolodanceheusessomeofthemechanicsforsupportashedancesalone.TheduetbetweenAngeloandtheprisonguardisanexampleofusingassistedlifts.
WORkING IN PAIRS
aUsing Partner As SupportAactsasthesupportbentoverwithhandsonthighs,elbowsin,headdown.Bcanusethisbasetopushoffduringjumps,cartwheelover.AsseeninActOne,SceneOne,thissupportcanbeusedtomoveacrossthefloorwhilstBisbalancedonA’sback.BcanalsorolloveracrossA’sbacktomoveacrossthefloor.
• Ingroupsof4find6differentwaysofmovingusingeachotherassupport.Themovescanincludejumps,rolls,cartwheelsandfloormovement.
• When6moveshavebeenpractisedasseparatemovementstryandfindawaytolinkthesetogether.
• Createatravellingphrasetolinkeachmovesothatitdoesn’tbecomestatic.• Varydynamicsandspeedandyoucanalsoplaywithcanonandunison.
Luca and Lana – Act Two, Scene Three Luca and Lana – Act One, Scene Three
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5. REFlECTING ANd REVIEWING
Reviewing live performance
GENERAL OVERVIEW:• Summarisetheplotin3–5sentences• Describethestyleoftheproduction• Diditremindyouofanyotherproductionsyouhaveseenorknow?• Whatwasyourpersonalresponsetotheproduction?• Whattheatricaldevicesandconventionswereused?
DIRECTION AND CHOREOGRAPHy: • Whatdoyouthinkthedirector/choreographerwastryingtoconveythroughtheproduction?• Doyouthinkthatthechoreography,setdesignandstagingsupportedandconveyedthis?• Wasthereaninterestingandvarieduseofstagespace?
DANCING:• Howwouldyoudescribethedancingstyle?• Whatdifferentstylesofdancedidyourecognise?• Weretheyallsuccessfullyusedwithintheproduction?• Whatcanyousayaboutthedancingincomparisonwiththedancinginotherproductions
youhaveseen?• Whogavethemostnotableperformance?Trytobespecificaboutwhyinyouranswer.
DESIGN:• Describetheset,costume,lightingandsound.• Whatkindofstatementdideachofthesemake?• Howdidthedesigncontributetotheproduction’smeaning?• Giveexamplesofhowthelightingenhancedthenarrative.
Quartet dance – Act One, Scene One
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6. ESSAY QUESTIONS
• WhyisMatthewBourne’sworkoftencalleddancetheatreasopposedtodance?• ItisdifficulttocategoriseMatthewBourne’swork.Bournebelievesthat“anymovementthatissetto
countstothemusicisdance,butIknowalotofpeoplewouldarguewiththisstatement”.Discuss.
• HowdoesMatthewBourneusehumourinThe Car Man?Identifywhereitcanbeseen.Whatisitaboutthemovementmaterialand/orchoreographythatmakesithumorous?
• MatthewBourneusesanumberofdifferentfilmtechniquesinThe Car Man.Forexamplesplitscreeneffect,slowmotionandflashbacks.Giveatleastthreeexamplesofwhenthesetechniquesareusedandtheireffectivenessonstage.
AddITIONAl RESOURCES
• TheCarManDVD(originalproduction2000)
• Ossessione(1943)basedonJamesM.Cain’s1934novelThe Postman Always Rings Twice.
• CarmenbyGeorgesBizet,Libretto:HenriMeilhacandLucovicHalevyafterProsperMerimee’snovel.
• RodionShchedrin’sCarmenSuite
Angelo and Lana – Act One, Scene One
Resource Pack written by Imogen kinchin
Tel: +44 (0) 20 7713 6766 Email: [email protected]: www.new-adventures.net