This is the type of dress that I imagine Lucy would
wear. It is not as fancy as a high-class
woman of 1775 England, but also not the dress of someone who spends all day
scrubbing the floor:
Part 4 of MA:
Maybe it’s because I’m a dancer, but it’s always been a pet
peeve of mine that all period dances look exactly the same when presented on
stage in a theatrical production.
I don’t know if this is a lack of education on the choreographer’s part
or the fact that it needs to remain simple so that the actors can learn it in a
short amount of time. Either way,
I feel like I have a little more understanding of the difficulties after
reading this chapter.
The first thing that struck me in the reading and that I
truly respect is on page 120 when she says, “I break many rules of the era, but
by choice, because it helps the to tell the dramatic story today.” Yes, I say,
always feel free to break the rules, but you must first know what they are and
why you are breaking them.
I think another answer to my question comes from Peggy who
say, “Keep it simple. Don’t try to turn actors into dancers.” I could see how
that would make a lot of choreography look similar.
Later, it says to make sure the actors are comfortable with
their costumes, sets and music. I
don’t see that happening very often.
More often than not, the costumes are barely done in time and rehearsals
begin way before the set is complete. I do think that in a perfect world,
having the actors comfortable would absolutely be the best way.
I don’t think I will be taking advantage of any of the
exercises in this chapter. While
they are not appropriate for me personally, I can see how they may help an
actor with less dance experience.
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