Compare the use and function of five different movement relationships in Lloyd Newson’s Strange Fish (1992) with those in Lea Anderson’s Flesh and Blood (1989)
The two pieces I will be comparing are Lea Anderson’s Flesh and Blood (1989) and Lloyd Newson’s Strange Fish (1992) on the choreographer’s uses of different movement relationships. I will be comparing the use and effects of: mirroring, unison, canon, spatial formations and numerical groupings.
The term ‘mirroring’ in dance is the idea of creating a mirror image of a dancer, usually seen between two dancers facing each other (similar to copying). Mirroring can give the effect of the two dancers seeing a reflexion and are doing the same movements in unison. An example of this in Strange Fish is where the two male dancers (Nigel and Dale) are facing each other with one arm on the wall and the other at their lateral sides. They then both bend down, flexing at the hip with the head relaxed, and they ‘compete’ to get their hands on the wall first. This is not in complete unison but is still an example of mirroring as their actions are opposite. The two males could be competing to show who the superior one is or perhaps to impress the female characters in the room. Similarly there is an example of mirroring in Flesh and Blood. This relationship occurs when the dancers are lying on their backs then sit up and creep forward on their hands and feet on the floor. In this section 2 or 3 of the dancers are mirroring one another in their actions. This motif emphasises the change between 2D and 3D in Escher’s lizards which was one of Anderson’s starting points for her piece. The two choreographers have used mirroring for different purposes. Anderson uses this relationship to portray the ideas and design of the image which was used as a stimulus whereas Newson uses mirroring to convey the competitiveness and effects of male ego.
Unison in dance is when dancers do the same movements as each other at the same time. Unison...