Use of space in Sabra and Neil So You Think You Can Dance choreographed by Mandy Moore

by Howard
(No location given)

Concerning Sabra and Neil So You Think You Can Dance choreographed by Mandy Moore, please give me some thoughts on the Rudolf Labans’ movement analysis,like detailed examples of the 9 main zones used on stage?


Also some detailed analysis on their hand gestures and if you think this dance style is Jazz?

Thank you

Howard




Comments for Use of space in Sabra and Neil So You Think You Can Dance choreographed by Mandy Moore

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Nov 13, 2012
 Maria's reply
by: Maria

Dear Howard,

You know the main zones of scenic space according to Rudolph Laban's theory are:

- The center

- The four corners

- The spaces between those four corners (avoiding the center)

(You can find expanded information on this topic at our page about dance composition)


In this choreography, the main zone used is the center, as you can see. There's a moment where the dancers split and go to the sides (left-center and right-center) and another moment, close to the end where they split again and go near the front corners (left-front and right-front).

Other than that, the use of the space on stage in this choreography is reduced to the center.

Concerning the hands, I see that closed fists and great extension of fingers are used as an expressive mean. There's a moment when Neil executes a fan-type movement of fingers, but it appears just as a detail at one moment of the choreography. There are also flat and extended positions of hands with fingers together at other moments of the choreography.

You know I'm not a Jazz expert (my field is contemporary dance), so I'm not the suitable person to judge if the style of this dance is jazz indeed. However, I know that jazz dance has evolved and like many other dance genres, it has incorporated elements from other choreographic practices.

Yet, I can highlight some features of this choreography that could be considered as of a modern or contemporary dance type:

- Use of floor work (sliding, passing under the table, kneeling, etc...)

- Dramatic situation (there's some kind of a duel between the two dancers going on)

- Use of choreographic vocabulary from other physical practices (like the gymnastic move Neil executes to cross over the table)

- Choreographic relationship to an object (the table)

- Use of momentum and weight for the flow of movement (when Neil brakes Sabra's knees and then continues holding her and turning)


I hope this answers your question. I'm receiving some homework-type questions lately... I hope your teacher won't be angry, if this is the case... Let your classmates know that contemporary-dance.org is here. It is a place where we all can learn a lot and share... ;--)

Warm regards,

Maria


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