Answering examination questions - Remember KIDEAnInEvL
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Example Paragraph:
Discuss the effectiveness of physical setting in Sidi Larbi Cherkaoui’s Sutra
Having been introduced to Anthony Gormley on his 2005 work “Zero Degrees” with Akram Khan, SLC had boxes designed for Sutra by Gormley himself. The 21 boxes were large enough to fit a human body, like a coffin, and were all wooden except for one metal box which Cherkaoui himself uses throughout, most notably in section 5 where he performs his solo contortion movement confined within the box. The boxes are used throughout the whole piece, particularly within the transitions whereby they are moved by the monks, for example between sections 5 and 6 where the boxes are carried on the backs of the monks to create a lotus shape. The boxes clearly reflect the theme of freedom and confinement, as the coffin shape reminds the audience of being buried, and SLC’s solo is literally confined to the box only, with his contorted actions showing how uncomfortable it is move in said box. The monks carrying the boxes on their backs shows how they carry their burdens, literally carrying the weight on their shoulders. In addition, the notion of East vs West is demonstrated through the contrast between SLCs metal box as the Western foreigner, and the Eastern monks wooden boxes. Overall, the use of the boxes make the subject matter clear to the audience, and allow them to empathise with the confined nature of the monks lives, whilst simultaneously appreciating their own Western freedom. The use of SLC being confined to the box also allows the audience to consider how confined they are within their Western working society, getting them to question how they could embark on their own spiritual journey to be free from this. The contrast in boxes also allows for irony, as SLC is presented as the foreigner, although technically the monks are the foreigners being presented to the British audience – it’s all about personal perception.
Example Paragraph:
Discuss the variety of the dance works in the repertoire of Rambert Dance Company (formally Ballet Rambert) from 1966 TO 2002.
During Morrice’s 8 years as director he invited a range of new and established choreographers from overseas to work with Rambert. For example, Glen Tetley who had also trained underneath the likes of Martha Graham, Jose Limon, American Ballet Theatre and Jerome Robbins. Due to Tetley’s diverse experience he began to build a reputation for himself in America and across Europe. Therefore after Morrice’s visit to America it was only natural he was asked to work with Rambert in their landmark ‘The Tetley Season’ (1967) which included his earlier creation Pierrot Lunnaire (1962). Pierrot Lunnaire opens with the solo character Pierrot (based on the Commedia dell arte character Pierrot) swinging from scaffolding in a stark set, which comprises of the scaffolding placed upstage centre. The movement content involves repetitive contraction’s and extensions and a variety of distorted balletic movements such as rond de jambs en l’air and reaching arm gestures in both slow and sudden dynamics. Many of the movements described on and beneath the scaffolding are playful and childlike. The use of mime resembles the characteristics of Marcel Marceau, a well-known mime artist from the Commedia dell arte influence (16th-18th century). The introduction of Glen Tetley was of great benefit to Rambert because the unique characteristics of ‘Pierrot Lunnaire’, fusing; mime, acrobatics, poetry, ballet and modern dance truly awakened British audiences due to its stark contrast to previous Ballet Rambert works. Tetley’s work ‘Pierrot Lunnaire’ triggered an abstract style of dance at Rambert setting a president of what was to come next and paved the way for more adventurous and creative choreography performed by the company, encouraging collaboration amongst art forms such as the link between modern dance and Commedia dell arte. He also influenced several other choreographers such as Christopher Bruce and Ashley Page to explore new work in this way which would later determine the development of Rambert and it’s range of repertoire. Overall, both the introduction of ’Pierrot Lunnaire’ and Glen Tetley’s continued influence contributed towards a varied repertoire at Ballet Rambert.
Practice Questions:
Compulsory area of study: Rambert Dance Company (formerly Ballet Rambert) 1966 – 2002
- Discuss the characteristic features of the Rambert Dance Company 1966 – 2002. (25 marks)
- Discuss the subject matter used within the choreography of the Rambert Dance Company 1966 – 2002. You should refer to the work of at least two practitioners. (25 marks)
- Analyse the development of Rambert Dance Company 1966 – 2002. You should refer to the contribution of at least two practitioners. (25 marks)
- Compare the contribution of two practitioners you have studied to the development of Rambert Dance Company in the period 1966 to 2002. (25 marks)
- In what ways did the practitioners you have studied contribute to the development of Rambert Dance Company? Your answer should include reference to at least two practitioners from the period 1966 to 2002. (25 marks)
- Examine the characteristics of the range of choreography seen during the development of Rambert Dance Company between 1966 and 2002. (25 marks)
Essays for Independent Contemporary Dance Scene in Britain 2000- present day: All marked out of 25
- Discuss how the works you have studied reflect the features of the Independent Contemporary dance scene in Britain from 2000 to present day. You should refer to examples from the works of at least two practitioners.
- Examine how the work that you have studied reflects the genre’s capacity to reflect and challenge society. You should refer to examples from the works of at least two practitioners to explain how they reflect and challenge society.
- The choreography from within the Independent Contemporary dance scene in Britain from 2000 to present day often responds to social, political and historical issues. Explain how the two practitioners you have studied explore this feature of the genre.
- The choreography from within the Independent Contemporary dance scene in Britain from 2000 to present day uses diverse and eclectic aural setting. Discuss how the two practitioners you have studied have used this feature of the genre.
- The choreography from within the Independent Contemporary dance scene in Britain from 2000 to present day often uses diverse physical setting and new forms of staging. Explain how the two practitioners you have studied explore this feature of the genre.
- Explain the significance of the two practitioners you have studied to the establishment and development of the Independent Contemporary dance scene in Britain from 2000 to present day.
- Discuss how the eclectic range of dance styles employed by the two practitioners you have studied has aided the development of the Independent Contemporary dance scene in Britain from 2000 to present day.
- Explain how the two practitioners you have studied have explored alternative approaches to choreography, a key feature of the Independent Contemporary dance scene in Britain from 2000 to present day.
- Compare the styles of the two practitioners you have studied and how the styles reflect the features of the Independent Contemporary dance scene in Britain from 2000 to present day.
- Compare the choreographic style of the two practitioners you have studied and how the styles reflect the features of the Independent Contemporary dance scene in Britain from 2000 to present day.
- Compare the movement style of the two practitioners you have studied and how the styles reflect the features of the Independent Contemporary dance scene in Britain from 2000 to present day.
- Compare the influences of the two practitioners you have studied and how these influences have contributed to the development of the Independent Contemporary dance scene in Britain from 2000 to present day.
- Compare the contribution of the two practitioners you have studied to the development of the Independent Contemporary dance scene in Britain from 2000 to present day.
- Discuss the importance of the work made by the two practitioners’ you have studied to the development of the Independent Dance Scene in Britain from 2000 to present day.
- Discuss the importance of the union between choreography, music and design in the works created within the Independent Contemporary dance scene in Britain from 2000 to present day. You should refer to examples from the works of at least two practitioners.
- Discuss the importance of collaboration across art forms to the development of the Independent Contemporary dance scene in Britain from 2000 to present day. You should refer to examples from the works of at least two practitioners.
- Examine the subject matter used in the choreography created within the Independent Contemporary dance scene in Britain from 2000 to present day. You should refer to examples from the works of at least two practitioners to show how the subject matter is communicated.
- Discuss the origins of the Independent Dance Scene in Britain and how the two practitioners you have studied contributed to the early development.
- Discuss how the works that you have studied reflect cultural diversity and embrace cultural similarities and differences, a key feature of the Independent Contemporary dance scene in Britain from 2000 to present day. You should refer to examples from the works of at least two practitioners to show how cultural diversity is communicated.
- Explain how the dance techniques used by the two practitioners you have studied have impacted on the development of Independent Contemporary dance scene in Britain from 2000 to present day.
How you are marked:
AO3: Demonstrate knowledge and understanding of performance and choreography from different periods and genres
AO4: Critically appreciate and assess performance and choreography through making analytical, interpretative and evaluative judgements.
The examiner is looking for answers that are factual and accurate with detailed analysis that is rationale and shows a clear line of argument, linking to context as well as an answer that is written persuasively.
AO4: Critically appreciate and assess performance and choreography through making analytical, interpretative and evaluative judgements.
The examiner is looking for answers that are factual and accurate with detailed analysis that is rationale and shows a clear line of argument, linking to context as well as an answer that is written persuasively.
Paragraph writing tips:
By adding these starters to the beginning of your paragraphs you let the reader know what is coming up next
Are you building on your last point?
In addition,
Moreover,
Furthermore,
Are you contrasting your last point?
However,
Contrasting this,
In your plan, write some of these starters out so that you remember to use them!
Persuasive language is very important at A Level. You need to convince the reader that what you're writing is correct! The more confident your writing sounds the more persuasive it will be.
Also remember that examiners often mark lots of papers in the same day, it won't hurt to make yours the most interesting paper they read!!!
Don't cap yourself by using incorrect language!!
Make sure you know the correct language to use AND the correct spelling.
For example:
Aural setting NOT Oral setting.
Practice writing using persuasive language and appropriate sentence starters, this will make the exam much easier!! Use the exam practice questions above to do this in your own time.