Download e-book for iPad: Dance and Dance Drama in Education by V. Bruce and P. Sebastian (Auth.)

By V. Bruce and P. Sebastian (Auth.)

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This approach to dance and dance drama needs care and sparing use. Dance and drama in school and college are inspiration for painting and modelling through the shape, design or form of the dance, through the dynamic quality or dramatic content. The human being in moveĀ­ ment and involved with others in movement may be subjects for painting or sculpture directly. The transitional shapes made in a dance may inspire abstract shape in paint or clay. It may be that the painter or sculptor is attracted by such qualities as the strength or ethereal lightness in movement, by darting or penetrating gesture, or by the drama or antagonism, aggression or harmony of groups.

This skipping and jumping belongs very much to the dance. The body goes into the air, descends and settles for a *The terms "door", "wheel", "table" have been used when teaching children. c 22 DANCE AND DANCE DRAMA IN EDUCATION moment and leaps again, the state of suspension being often continĀ­ uously and rhythmically repeated, the settling only giving elasticity for the next spring. A wide range of effort, direction and body attitude is possible. A jump may arise from strong thrusting, from a lightness which is almost floating, or from sudden flicking movement.

Modern ballet tends very much towards dance drama as we use it in education. It is necessary to consider the place of the audience for dance and drama in education. The presence of an audience is likely to detract from absorption in primary school children. There is a stage where child audiences are better than adult audiences for children. Adults on the whole do not yet understand children's expression and they laugh at, rather than with, the children. Primary children are most often exploring and creating for themselves and should not be hurried into a state of audience consciousness.

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