Final Video Review - Dance For Camera

Final Video - https://www.youtube.com/watch?v=9bikFnlt1WU

• Use of choreographic devices - they have really come along since my first draft video. In my final video, I have slowed down the tempo of choreography at points, which is something I didn't really do in my first draft. Making some of the choreography slower somewhat led to the creation of a climax in my piece. I have continued to use a lot of repetition. Here are some examples:

Other main movements I repeated included turns and rippling. Also, whilst performing this repetition, I added embellishment. For example, my hands coming up and over my hair whilst rippling. Furthermore, I applied retrograde, like when I slide forward on the floor twice and then straight afterwards return to where I was before the slides took place.

• Structure - as mentioned above, I feel that I have added a climax to the piece. The clip of me slowly applying lipstick juxtaposes to the next clip of me suddenly shutting the powder case and kicking towards the camera. In my final structure, I also had a clear binary (AB) structure, which I am pleased with. The change from black backdrop to white wall simplistically and also effectively shows my switch from A to B. 

• Showing my stimulus - I feel like I could have smiled more in the video. Yet, my focused face highlights how concentrated and serious females are to show what they can do, so it works to an extent. There are moments when I smile - after I apply lipstick and when I hip bounce.

Shots/Angles - I succeeded in my target of having a stronger establishing shot in the video:

However, I wish I made the establishing shot longer, as it only remains alone for a second.

Other shots:

Close up

Side close up - NEW ANGLE 

Above shot (birds eye)

Over the shoulder - NEW ANGLE

• Physical setting - Where it was filmed: Filming all of it in the dance studio went well. It gives the video a much more professional look and feel to it. Also, starting the piece in black and white and switching to colour adds interest, giving my video an edge. However, filming in the dance studio still presented unnecessary things in the background. For example, when I am dancing with the white backdrop, you can see a plug socket and part of the whiteboard. Therefore, this is an area I'd further develop. To ensure the white backdrop is completely plain, I need to prepare the setting before filming, which would involve me covering the plug socket and whiteboard with white cloth so that they blend in.

• Physical setting - Costume: I wore a pink top with black leggings. The choice to wear pink was smart because it meant that I could relate it to the official girl power logo -

The leggings were worn mainly for comfort and because they were plain. This is something I would develop if I were to film again. This is because in the section with the black backdrop, I am blending in with the setting too much. Next time, I would maybe wear grey bottoms, as that colour would not clash with either backdrop.

• Aural setting - Music: I ended up changing the music. 'Run The World' is very encouraging and empowering for women, however I am playing a girl who is happy and confident in themselves already and doesn't need to feel reassured. This led me to choosing a different Beyonce track - Diva. The lyrics highlighted in pink strongly reflect the feelings of a confident female, hence why I chose it.

'Diva' Lyrics:

(http://www.azlyrics.com/lyrics/beyonceknowles/diva.html)

I'm a-a diva (hey), I'm a, I'm a-a diva (hey)
I'm a, I'm a-a diva (hey), I'm a, I'm a-a diva
I'm a, I'm a-a diva (hey), I'm a, I'm a a diva
I'm a, I'm a a diva (hey), I'm a, I'm a a di...

Na-na-na, diva is a female version of a hustla, of a hustla, of a, of a hustla...
Na-na-na, diva is a female version of a hustla, of a hustla, of a, of a hustla...

Stop the track, lemme state facts:
I told you, gimme a minute and I'll be right back
Fifty million round the world and they say that I couldn't get it;
I done got so sick and filthy with Benjis, I can't spend it
How you gon' be talking shit? You act like I just got up in it;
Been the number one diva in this game for a minute!
I know you read the paper - the one that they call a queen,
Every radio round the world know me cause that's where I be (first!)

I'm a-a diva (hey), I'm a, I'm a-a diva (hey)
I'm a, I'm a-a diva (hey), I'm a, I'm a-a diva
I'm a, I'm a-a diva (hey), I'm a, I'm a a diva
I'm a, I'm a a diva (hey), I'm a, I'm a a di...

Na-na-na, diva is a female version of a hustla, of a hustla, of a, of a hustla...
Na-na-na, diva is a female version of a hustla, of a hustla, of a, of a hustla...

When he pull up, wanna pop my hood up,
Bet he better have a six-pack in the cooler
Getting money, divas gettin' money,
If you ain't gettin' money, then you ain't got nothing fo' me
Tell me somethin', (tell me somethin'): Where yo boss at? 

Choregraphy Rehearsals - Cats

Act 1:

Prologue: Jellicle Songs for Jellicle Cats

Invitation to the Ball - first attempt.

The Old Gumbie Cat

Rum Tum Tugger

Bustopher Jones

FULL Jellicle Ball

The Jellicle Ball - 2nd group section onwards.

Act 2:

Gus: The Theatre Cat

Skimbleshanks

Dance For Camera - Rehearsal Process

Firstly, I improvised choreography to fit with my girls stimulus. From this improvisation came motifs and once getting confident with these, I began filming, playing around with various camera angles. For instance, a motif of mine was filmed using an establishing shot and then again but from behind the dancer and closer. 

As I am the dancer in my video, I asked Elsie to peer assess the choreography I was creating. If she liked a piece of movement, we would film it a number of times, applying choreographic devices; for example, performing it slower or faster (dynamics), performing it at different levels, changing the amount of space used.  She has assisted me filming in rehearsal and will do in the final videos. I directed her, saying which angles I wanted. Deciding on what camera angles to use was more or so a trial and error process; we had to experiment a fair bit to see what looked most visually effective.

Elsie's feedback:

WWW - I come across happy and confident when performing the choreography.

EBI - The choreography could be more specific to the stimulus.

Gathering all the clips taken in class rehearsals, I uploaded them onto a computer and used iMovie to edit them, for example, I had to mute the sound in the clips, as it would be heard even with music added on top. Once in iMovie, I was able to import music from my iTunes library. I looked at upbeat songs with lyrics to match my message, which led me to Beyonce - Run The World (Girls).

Further Development - Cats

If Cats were to go on tour...

I would like to see more clearer attitudes towards Grizabella, before and after she is accepted. When she receives the envelope in  'Journey to the Heaviside Layer', I want a mix of reactions. In the show, me and Sophie were stunned. This shock could be slightly more bitter and even angry. This would contrast to those who are overly happy for her and immediately begin to clap when she is announced as the new face of the magazine. As Ellie's character - Demeter - is the only one by her side up until the finale, I think their relationship needs to have more secretive moments and affection. Perhaps in Grizabella: The Glamour Cat, they could embrace eachother so quickly because they are scared of Demeter getting caught. However, I do worry that won't match the pace of the song. 

Another aspect I would further develop is Mungojerrie and Rumpleteaser's reputation. I think the agency characters need to frown upon them more. For example, they could try and enter the party during Old Deuteronomy but be rejected.

As for my own character, I'd like Jellylorum to have a closer relationship with Gus prior to their duets. Also, I'd wish to interact more with Bombalurina and Demeter. Originally, they are the 3 queens. Currently, they share no closeness, except for in The Old Gumbie Cat and Grizabella: The Glamour Cat. Their friendship could simply be shown if the formations were rearranged on stage so that they're always in the same line or performing group dance sections together, like they do in The Jellicle Ball.

Final Show Links

Part 1 - The Old Gumbie Cat (Acapella)

Part 2

Part 3

Part 4

Part 5

Show Strengths & Weaknesses

Part 1
Part 2
Part 3

Strengths:

• Tapping in Gumbie Cat is at a great standard. We are performing it in unison which really shows as everyone does the same arms and legs.

• I'm beginning to channel Bustopher Jones well. For example on the line 'because I've preserved all my life a routine...', my mockery of him is obvious.

• Good meandering and interaction between year 13s and 12s in Old Deuteronomy. It shows that their media/press characters. It also creates an effective visual image.

• My group dance sections in Jellicle Ball are really strong. I am being as energetic as possible, whilst keeping extension of the body always in mind.

• Growltiger is growing in animation. The sword fight at the beginning is slick and effective for setting the fantasy scene.

• Skimbleshanks has a strong opening - the scene is hectic which is our exact intent.

Weaknesses:

• Solo lines in Prologue - my voice sounds strained, this is probably because I had just recovered from a sore throat. To improve the quality, I think I need to keep the whole line in either chest or head voice, and not go from one to the other.

• Timing of 2nd trio verse in Gumbie Cat - currently singing behind the music. This weakness can be fixed by listening to the track prior to the next show and singing it altogether.

• Exit stage earlier for the start of Grizabella: The Glamour Cat. With me offstage, it will highlight Grizabella's isolation, making the audience feel sympathy.

• Lower volume of voice in Growltiger to match Josh's. As a duet, we need to be equal with eachother.

• Fuss around more/longer when getting into first front line formation in Skimbleshanks, as the other side do. Perhaps try fixing something of Ellie or Catrina's.

Artistic, Vocational, Professional Views

What were you trying to achieve? 

To show a genuine friendship with Gus.

How did you achieve this?

I achieved this by singing more at Gus, rather than the audience, in our duets. This was effective because it showed how I was deeply engaged in his character. Our friendship was shown in my gentle manner and the constant smile I gave him. My gentle manner was clear when I discussed his physical state 'his coat's very shabby and he's thin as a rake'. Occasionally, I would put my hand on his shoulder or thigh, which reflected how sensitive I was with him. Furthermore, I gathered the others in the song to come closer and listen to Gus during his verse. This shows how my character is proud to be friends with Gus and wants others to hear of his success, as she herself finds it remarkable. You could say that Jellylorum is inspired by Asparagus. The way I sung also helped represent our friendship. I sang my solo verse softly and often used my head voice, creating an angelic-like sound.

What would you do to further this? 

To further the showcase of Gus and I's friendship, I would like our characters to have more interaction throughout the show. Prior to our songs in Act 2, we don't pay much attention to one another, and there are definitely opportunities to do so. In the final show, we spontaneously spun together in The Jellicle Ball, which was a moment of improvisation, but I would include again if there was another show.