Choreographic Strategies to Achieve Visual Communication Within an Original Film Narrative Through Academic Ballet Choreography
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CHOREOGRAPHIC STRATEGIES TO ACHIEVE VISUAL COMMUNICATION WITHIN AN ORIGINAL FILM NARRATIVE THROUGH ACADEMIC BALLET CHOREOGRAPHY Paul William Hourigan Submitted in fulfilment of the requirements for the degree of Master of Fine Arts (Research) Creative Industries Faculty Queensland University of Technology 2019 Keywords Characterization, choreographic strategy, academic ballet, cinematic tropes, film, narrative, plotline, stereotype. 2 Abstract This study focuses on the choreographic strategies I used when employing ballet choreography as the medium for visual communication within a self-devised featurette film, without relying on stereotypical characterizations, plotlines and cinematic tropes to tell the film’s narrative. In designing the methodology to support this practice-led research, and, as a choreographer working within both the dance studio and on location, the most appropriate framework for the study utilized a mixed methodology employing qualitative research strategies and methods. The research incorporated studio-based action research, aspects of grounded theory, and an audience survey for the collection of qualitative data. A literature review was conducted in which it was determined that choreographic strategies for academic ballet in film is a topic that has not previously been addressed in academic writing. A contextual review was also conducted, revealing that there is a significant use and perpetuation of, stereotypes, cinematic tropes and standardized filming techniques in films portraying characters of ballet dancers and the ballet industry. In order to address this, the study culminated in an original film, titled Nearly Not Me, containing dance sequences created by using academic ballet choreography. The choreography assisted in telling the story of a modern-day narrative in lieu of dialogue, avoiding stereotypes, cinematic tropes and standardized filming techniques. Findings of this research identified eight successful choreographic strategies that may be implemented to achieve this. This study acts as a stimulus for further development in the use of academic ballet choreography in film as a means of visual communication, inspiring other choreographers to challenge existing traditions to evolve. 3 Table of Contents Abstract .................................................................................................................................... 3 Statement of Original Authorship .......................................................................................... 10 Acknowledgements ................................................................................................................ 11 Chapter 1: Introduction ........................................................................................... 12 Section 1.1 Background ......................................................................................................... 12 Section 1.2 Definitions ........................................................................................................... 13 Section 1.3 Research problem and purpose of the study ........................................................ 15 Section 1.4 Aim and research question .................................................................................. 15 Section 1.5 Significance and scope ........................................................................................ 16 Section 1.6 Thesis Outline ...................................................................................................... 16 Chapter 2: Literature Review ................................................................................. 18 Introduction ............................................................................................................................ 18 Section 2.1 Stereotypes, cinematic tropes and the ballet film genre ...................................... 20 Section 2.1.1 Stereotypes and cinematic tropes ........................................................... 20 Section 2.1.2 The ballet film genre .............................................................................. 21 Section 2.2 Academic ballet/Fused ballet: Choreography in film narrative ........................... 21 Section 2.2.1 Cinedance and the dream ballet ............................................................. 24 Section 2.2.2 Cinedance ............................................................................................... 25 Section 2.2.3 The dream ballet ..................................................................................... 26 Section 2.3 Choreographic strategy: Insight into the work of Robert Helpmann, Frederick Ashton and Roland Petit ......................................................................................................... 28 Section 2.3.1 Robert Helpmann, Frederick Ashton, Roland Petit ................................ 29 Section 2.4 Conclusion ........................................................................................................... 32 Chapter 3: Contextual Review ................................................................................ 34 Introduction ............................................................................................................................ 34 Section 3.1 Films that created the character of the ballerina .................................................. 35 Section 3.2 Academic ballet and fused ballet in film: Defining the difference ...................... 45 Chapter 4: Research Design .................................................................................... 54 4.1 Action Research ............................................................................................................... 54 4.2 Grounded Theory ............................................................................................................. 56 4.3 Data Collection ................................................................................................................. 56 4.3.1 Data Collection Method Used in Relation to Grounded Theory ......................... 56 4.3.2 Creative Practice ................................................................................................. 60 4.3.3 Qualitative Data Collected from an Audience Survey ........................................ 60 4.4 Ethical Considerations ...................................................................................................... 61 4.4.1 Safe dance procedures ......................................................................................... 61 4.4.2 Participant wellbeing ........................................................................................... 62 4 4.4.3 Participant consent ............................................................................................... 63 4.5 Bias of the Study ............................................................................................................... 63 Chapter 5: Process ................................................................................................... 65 5.1 Planning and Preparation .................................................................................................. 65 5.1.1 Developing the Screen Play ................................................................................. 66 5.2 Choreographic Sequences ................................................................................................. 68 5.2.1 Choreographic Sequence 1 .................................................................................. 68 5.2.2 Choreographic Sequence 2 .................................................................................. 68 5.2.3 Choreographic Sequence 3 .................................................................................. 69 5.3.1 Dance Sequence 1 ................................................................................................ 71 5.3.2 Dance Sequence 2 ................................................................................................ 76 5.3.3 Dance Sequence 3 ................................................................................................ 84 Chapter 6: Discussion .............................................................................................. 88 6.1 Findings from the film analysis ........................................................................................ 88 6.2 Findings from the practice ................................................................................................ 89 6.3 Findings from the audience survey ................................................................................... 92 6.4 Choreographic strategies ................................................................................................... 96 Chapter 7: Conclusion ............................................................................................. 97 References ................................................................................................................. 99 Appendix 1: Glossary of academic ballet terms .................................................. 105 Appendix 2: Academic ballet steps deconstruction table (with analysis) ......... 109 5 List of Tables Table 1: Academic ballet steps deconstruction table………………………….105 6 List of Figures Figure 1: The action research cycle ..................................................................................... 55 Figure 2: “A streamlined codes-to-theory model for qualitative