'Carmen\r'

'Movement, space and dynamics are drug ab utilize in Mat Ek’s work C offseten to portray the dissimilar characters throughout the piece and to determine their relationships therefore gaining a great arrangement of the characters and the narrative. Micaela (M) is a respectable and equal woman who is loyal to her fiance but is endlessly leading him and influencing his behavior in life.\r\nThe first cause we run across from M is at a small(a) height with collapsing, repeated contractions which give us an initial conception of her silent presence amongst her fiance wear upon Jose while he is conversing with the other solider portraying the melodic theme of her intimidation of other men. Her movements are curved in shape though still very constrictful, sourish and expect a punch like force about them which gives the supposition she is conscience of Jose, giving his delegations and guidelines of how the be comport.\r\nShe wherefore progresses into a lot of sustaini ng movements, which she continuously motions upward, giving the motion-picture show and the resemblance of appreciation of life and her faithfulness toward founder Jose. Symbolism of a wish to have a child occurs at 0. 33 through the use of curved â€Å"cradle-like” motions which shows the couples desire to settle down and be a family. There is overly a insistent floor convening as M practically travels away from Don Jose but then travels flat thorn towards his representing her dedication and loyalty as she invariably returns to her fiance and also the idea of her constant presence.\r\nM’s dynamics then take a sudden change as she is not womb-to-tomb performing contracted, closed movements in a instant temper which portrayed her ideal feministic personality of cosmos loyal and she now has a less controlled temper about her performing asymmetrical kicks and contrasting shapes as she seems to let loose the promote she ventures away from Jose which symbol izes her dis typeset connection to him as she invariably returns back. The duet performed by M and Don Jose see’s M return to her original circular, curved shape movements and we see Jose’s unison with her, incessantly a bar behind which gives a sense she is showing him the way.\r\n both(prenominal) of their movements are free yet heavy and they have a curved shape about them implying the concealed control and tension between them but also the trance they set each other in as the appear passably â€Å"playful” and always drawn upwards with high levels and steady gestures such(prenominal) as lifting M up at 1:39 and high suspension movements at 1:09 to the sky symbolizing the feeling of being electrical capacity and happy. Jose’s continuous following of M and his place in space of always being slightly behind M symbolizes his shyness and the authoritative nature his fiance possesses over him.\r\nAt 1:44 we see M and Jose linking arms with M poin ting to the direction she wishes to head while Jose looks at her in perplexity and awaiting her next gesture again portraying the idea of her leading and peremptory power she has over him and his fealty to this power. As the group of female trip the light fantasticrs come in we see a spectacular change in the dynamics and movements of the dance as in compare to M, these dancers have a much more surface body position about them with much greater use of the entire kinosphere of each individual.\r\nThe use of multiple kicks and turns which take up a large enumerate of space around the dancer display their say-so and high self esteem. At 2:45 the girls perform a controlled turn as they have a strong posture and arm position with head titled towards the sky to convey a strong, open shape which further portrays the idea of the impudence and â€Å"teasing” nature they possess in the males presence.\r\nAs the males and female perform a direct change in sides we see the mal es perform loose, uncontrolled arm movements which shows the uncontrollable urge they have to go and â€Å"dance” with the girls and how crazy they females make them along with the back and frontwards floor pattern the girls create as they swap sides and they lead the boys in and then head back the other direction which also conveys the teasing nature of the females.\r\nAt 3:12 the males perform a percussive movement as the floor pattern leads them towards the females which emphasizes their excitement, yet the fact they are giving into the females which comments on the power the women posses over the men. The floor pattern shows the males always behind and following in the females paths, almost repetition similar movements that the females do which further emphasizes the idea of the females controlling the males actions and the males chasing them.\r\nThis idea is also netly show at 3:29 when the females run over the backs of the males showing their dominance and power over them. Escamillo, the confident and in demand(p) new man in town conveys the idea of his confidence and power over everyone in his dramatic entry at 3:39 as the first movement we see of him is a open, strong and angular originate travelling to stage front. This jump automatically gives us the idea of his superiority over everyone else. His movements are sharp and angular which the choreographer to convey his confident, fibrous ersonality and his intriguing use of controlled and dramatic dynamics of movements. The final section performed by the girls shows a soften, less controlling side of them which is communicated by their use of curved, soft movements and low-powered dynamics and motions and shows the idea of their admiration and lust toward Escamillo. In conclusion, the use of various dynamics, movement and space is used in the extract to portray the characters, their emotions and determine relationships and further enhance and gain a better understanding of the characters t o overall convey the narrative.\r\n'