The Stimulus and Rhythms of Atalanta

2285 Words10 Pages
The Stimulus and Rhythms of Atalanta The stimulus which, I thought would be most thought provoking and appealing was Atalanta. I found the idea of characterising a dynamic, strong vivacious woman appealing due to my strong background in theatre and acting. This enabled me to perceive hidden depths of Atalanta's character, which were not evident at first sight. Therefore, I chose this stimulus because I believed that Atalanta would be an interesting and challenging character to portray through the medium of dance. Another reason why I chose this stimulus, was the use of the cloth and costume to portray "how rhythms can be created by repeating and opposing shapes" and how "certain lines indicate motion". Due to my previous experience as a rhythmic gymnast, I was able develop original and unusual movements, because I was used to using cloth and ribbons as a means for demonstrating highly complex physical movements After receiving the stimulus, I first of all researched Atalanta. Using a variety of resources such as and the Internet, I found that Atalanta derived from Greek legend, and was a strong athletic competitor, whom no man could beat at running. This was emphasised in my dance through the use of sustained running movements and the use of pauses to emphasis the importance of the poses. This also helped to reflect the stillness of the wooden sculpture. Analysis and further research led me to conclude that the pose and expression of the sculpture Atlanta are portraying her determination and power. This was evident in the strong and dynamic movements of my dance, as well as the use of facial expressions, bodily expressions and focus. My bodily expressions were natural, controlled with an upright posture, thus helping to portray her purpose as an athlete in a race. The facial expressions portrayed her determination, thus demonstrating her strong and vivacious character, and the embodiment of power, which Atalanta represents. The combination of body and facial gestures shared in the mood and theme of both the dance and the music. Focus aided my facial expressions. It was important for the focus to be strong, not looking at the floor at any time, but either looking out into the space such as when doing an arabesque but also facing inwards to concentrate on a move, for example the running movements from the pictures. Through the use of Stanslavki's 'method-acting' I used my research to characterise a strong female woman, which was then transposed into movements. To achieve the dimensions of Atalanta's character, I profiled her, so that when I was dancing, I would embody the character, this enabled me to access her personality quickly.

    More about The Stimulus and Rhythms of Atalanta

      Open Document