New Adventures in association with Sadler’s Wells presents

TEACHER’S RESOURCE PACK

CONTENTS:

1. UsingthisResourcePack 2

2. IntroductiontoThe Car Man 3

a) Plotsynopsisb) CarmenandThe Car Manc) KeyThemes

3. ProductionElements 7

a) Setb) Costumec) Musicd) Lightinge) Sound

4. Worksheets 9

a) WorksheetA: Everyday movements and gestures 9

b) WorksheetB: Characters 12

c) WorksheetC: Duets 14

5. ReflectingandReviewing 16

6. EssayQuestionsandAdditionalResources 17

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1. USING THIS RESOURCE PACK

ThispackaimstogiveteachersandstudentsfurtherunderstandingofMATTHEW BOURNE’S THE CAR MAN.

• Itcontainsinformationandmaterialsabouttheproductionthatcanbeusedasastimulusfordiscussionandpracticalactivities.

• ThereareworksheetscontaininginformationandresourcesthatcanbeusedtohelpbuildyourownlessonplansandschemesofworkbasedonThe Car Man.

ThispackcontainssubjectmaterialforDance,Drama,English,DesignandMusic.

C Discussion

a Practical exercise

Written work

Thesymbolsabovearetoguideyouthroughthispackeasilyandwillenableyoutousethisguideasaquickreferencewhenrequired.Theywillappearthroughthepackassymbolshighlightingfurtherworkthatcanbedone.

Therearealsoanumberofrelatedactivities,practicalexercisesanddiscussionideasthatcanbeusedtodevelopideas,workshopsandasastartingpointonwhichtouseforyourowncourserequirements.

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2. INTROdUCTION TO The Car Man

a) Plot synopsis

MusicbyTerryDaviesandRodionShchedrin’sCarmen Suite(afterBizet’sCarmen)SoundbyPaulGroothuisLightingbyChrisDaveyDesignedbyLezBrotherstonDirectedandChoreographedbyMatthewBourne

TheCarManisadanceintwoacts,setinafictionalmid-westItalian-AmericantowncalledHarmony.Thestorycentresaround:Luca – AdrifterDino – OwnerofDino’sDinerandGarageLana – Dino’swifeRita – Lana’ssisterAngelo – Rita’sboyfriend

ACT ONEWelcometoHarmony…

Whenastranger,Luca,arrivesinHarmonyhetakesajobatDino’sgarageasacarmechanic.Hispresencehasanimmediateeffectonallthoseinthetown.Lanatriestoresisthisallurebutendsupsuccumbingandtheyembarkonapassionateaffair.LucaalsobefriendsAngelo,whoisbulliedbytheothermechanicsandhehelpshimtofindconfidence.AngeloalsofallsinlovewithLuca,unbeknownsttohisgirlfriendRita.DuringaweddingpartyDinostartstosuspectthatsomethingisgoingonbetweenLanaandLucabuthedismissesthisidea.Afterthecelebrationsareoverhegoesout.WhenhereturnshefindsLanaandLucatogether.AfightbreaksoutbetweenDinoandLucaduringwhichLanahitsherhusbandovertheheadwithatoolfromthegarage.Dinoisonthefloorcoveredinbloodbutnotyetdead.LanahandsthetooltoLucatogiveDinothefinalblowthatwillkillhim.AngelofindsDino,andasthepolicearriveLanathrowsmoneyalloverthefloor,ripsherdressandpullsAngeloontopofhertomakeitlookasthoughAngelohaskilledhim.Angeloisarrestedandputinjail.

ACT TWOThescenebeginsinabarandLanaandLucaarenowtogetherasacouple.LucaishavinghallucinationsaboutthedeathofDinoandthearrestofAngelo.ThisangersLana,shethinksthatthisisasignofweakness.Lucatriestoprovehimselftoherbyinvolvinghimselfingambling,carchasesandfightnightstoprovehisstrength.

AngeloisstillinjailwhereRitavisitshimandtellshimofwhatreallyhappenedonthenightofhisarrest.Shetellshimthathewasframedforsomethinghedidnotdo.HeisangeredbythisnewsandafterRitahasleftheescapesfromjail.AngeloreturnstoHarmonytofindLanaandLuca.HecapturesRitaandholdsherhostageuntilLanareturns.DuringthefightnightheappearsandfightswithLuca.AngelokissesLucapassionatelybeforepushinghimaway.LucapullsoutagunandholdsittoAngelo,heisabouttopullthetriggerwhenLanafiresashotfrombehindthatkillsherlover.

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b) Carmen and The Car Man

Composer:GeorgesBizet.Libretto:HenriMeilhacandLucovicHalevyafterProsperMerimee’snovel.

TheoriginalCarmenisanoperainfouracts,setintheSpanishcityofSeville.Thestorycentresaround:Carmen – AgypsyDon José – AcorporalwhoisinlovewithCarmenMicaëla – ApeasantgirlwhoisbetrothedtoDonJoséZuniga – DonJosé’scaptainEscamillo – AmatadorwhoisinlovewithCarmen

Carmen,atempestuous,waywardandbeautifulgypsygirlisdesiredbyallmen.SheworksinaSevillecigarettefactory.Arrestedaftersheisinvolvedinafightwithoneofhercolleagues,sheisassignedtothecustodyofDonJosé,acorporalinthelocalbarrackswhosebetrothed,Micaëla,hasjustarrivedfromtheircountryvillagetolookforhim.ThoroughlybewitchedbyCarmen,Joséallowshertoescapeandishimselfplacedunderarrest.

Meanwhile,atthetavernofLillasPastia,CarmenandherfriendssinganddancewhilstZunigaattemptstowooherbutshethinksonlyofJoséwhohasbeeninjailforamonthandisduetobereleasedthatday.Theglamoroustoreador,Escamillo,arriveswithhisentourageandsetshissightsonCarmen.Althoughtemptedbyhim,shedecidestowaitforJosé.HearrivesatthetavernonhisreleaseandCarmentriestopersuadehimtoleavewithherinsteadofreturningtothearmy,herefusesbutbecomesinvolvedinafightwithhissuperiorofficer,Zuniga.AfterthisincidentJoséisforcedtofleewithCarmen.

HiddenawayinthehillsCarmengrowsboredwithJosé,sowhenEscamilloseeksheroutsheagreestoattendhisforthcomingbullfightinSeville.MicaëlaappearshavingfoundherwaytothemandpleadswithJosétoreturnhomewithher,Carmenurgeshimtogo.HerefusesbutMicaëlatellshimthathismotherisdying.JoseleaveswithMicaëlabutvowstoreturntoCarmen.

InSevillethetownpreparesforthebullfight,CarmenandEscamilloarrivetogetherbutJoseaccostsheroutsidethebullring,begginghertostartanewlifewithhim.SherefusesandtellshimthatshelovesEscamillo.AttheverymomentthecrowderuptsinexcitementoverEscamillo’striumphinthering,José,crazedwithgriefandjealousy,stabsCarmentodeath.

The Wedding Party - Act One, Scene Three

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Similarities and Differences:

The Car Manusesthethemesoflust,passion,revengeandmurder,whichareallassociatedwiththeoriginalopera.ThemaincharacterofCarmenissimilartothecharacterofbothLanaandLucainThe Car Man.LucahasamesmerisingeffectontheresidentsofHarmony,bothmaleandfemale.

CLookatthemomentthatLucaarrivesinHarmony.Whathappenstothemusic,lightingandthemovement?AstherearenowordshowdoesthischangeintempohelptoconveywhateffecthehasonHarmony?Whatimpactdoesthishaveonanaudience?

CLucaisthefirstpersoninThe Car Mantodancealone.Whatisthesignificanceofthis?Howdoeshissolocommunicateandintroducehimtotherestofthetown,inparticularthewayheinteractswithdifferentlywiththemenandwomen?Thereisrepeateduseofelevation,andhisdancehasastrongToreadorinfluence.

Whatdoesthissayabouthischaracter?Howisthisportrayedthroughdance?HowdoyouasaudiencemembersrespondtoLucaonarrivalinHarmony?

C ac) Key ThemesInsmallgroupslookatthemainthemesinThe Car Man: LUST PASSION MURDER REVENGE

Thinkaboutwhatimagesthesewordsconjureup.Usethesewordsandideastocommunicatethesethemestoanaudienceusingyourexistingskillsanddancetraining.

LUST:LanaisimmediatelyattractedtoLucaandhetoher.LanatriestoignorehisadvancesbutDinogiveshimajobanditisonlyamatteroftimebeforelustturnstopassion.

AngeloisrescuedfromafightbyLucaandadmireshim,LucabeginsteachingAngelohowtofightandstandupforhimself.Admirationdevelopsintoinfatuation.

Dino’s solo – Act One, Scene One

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PASSION:

CLanadancesasolo.Herdanceisflirtatious.Lookattheuseofelevation,compareLana’ssolotothedynamicsofLuca’ssoloinSceneOne.

DinogoesoutandeventuallyLanaandLucaarealone.LucagoestoLanaandpullsherintohisarms.Lanatriestoresistbutshesuccumbstohisadvances.Astheyenterintoapassionatedance,theresidentsofHarmonyfollowsuitaroundthem.

LanaandLucaarenearlyfoundtogetherbyDinobutLucaescapesjustintime.Inthenextsceneacouplearemakingloveinacar,LucaemergesfollowedbyAngelo,theykisspassionately.

MURDER:LanaandLucaarediscoveredbyDino.LucaandDinofight,LanapanicsandhitsDinoovertheheadwithawrench.HefallstothefloorandLanahandsthewrenchtoLucatofinishhimoff.

CTheactualdeathofDinoistheclimaxofhissuspicionsbeingaroused.DiscusswhattechniquesareusedtomaketheaudienceawarethatheisbecomingsuspiciousthatsomethingishappeningbetweenLucaandLana.Payspecialattentiontotheuseoflightingandofmusic.Theseareintegralelementsthatenhancetension.

REVENGE:AngeloisframedbyLanaforthemurderofDino.Heescapesfromjailwantingrevenge.HeholdsRitahostageuntilLanaandLucaarrivebackatthecaryardandthenhefightswithLuca.

aForfurtherexercisesonthisscenegotoWorksheetC

Lana’s solo – Act One, Scene Two

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3. PROdUCTION ElEMENTS – From Page to Stage

a) SetThedesigner,LezBrotherstonandthedirectorandchoreographer,MatthewBournedecidedtosetTheCarManinthe1960’s.TheybothwantedtorelocatetheactionfromSpaintohelpdistinguishthisproductionfromtheoriginalCarmenbutitwasimportanttobothBrotherstonandBournethattheproductionkeptaEuropeanfeel.

CInsmallgroupsorasaclassthinkofothersettingsthatCarmencouldbe‘re-imagined’into.

BourneciteshisinfluencesforthisproductionasbeingtheearlyViscontifilms,andinparticularOssessione(1943)basedonJamesM.Cain’s1934novelThe Postman Always Rings Twice.Thisfilmversionofthenovelisveryurbanandallthecharactersareveryreal.ThiswasamajorinfluenceonthedesignandfeelofThe Car ManandsoitwasdecidedtosetitinanItalian-AmericancommunityinafictionaltowncalledHarmony.Itwasdecidedthatthesamesetwouldserveforallthedifferentlocationsintheproduction.InActOnethesetisthecaryardandthediner.InActTwothesamesetisusedwithdifferentcoveringstoactastheinsideofthebarandwithadramaticchangeinlightingthesetbecomesaprisoncell.

CMatthewBournehassetThe Car ManinafictionaltowncalledHarmony.WhydoyouthinkBournechosethisname?Weseethenameveryclearlyatthebeginningandtheendoftheproduction.Howdoesitinformtheproduction?

Harmony – Prologue

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b) Costume Brotherstonpurposelydesignedthecostumestonotlooklikedancecostumes.Thewomenallwearpointybrasratherthandanceunderwearasthisisverymuchoftheperiod.Thedressesareloose-fittingwithbuttonsundoneandtheydanceformostofthetimeinbarefeet.ThemenarealltypicalJamesDeancharacterswithjeans,t-shirtsandloosecheckedshirts.Themenallwearworkbootsratherthandanceshoestomaintaintheperiodfeel.

CLezBrotherstonhasdesignedverynaturalisticcostumes.Howdoesthisinfluenceyourinterpretationoftheproduction?

c) MusicThescoreisallCarmenmusicwiththeexceptionofoneortwopieceswhichcomefromRodionShchedrin’sCarmen Suitescore.TerryDavies,thecomposer,didn’tusetheShchedrinmusicasonewholepiecebutinsteadhemixeditallupsoitisverydifficulttohearwhereoneendsandthenextonebegins.Themusicsoundsveryfilmicanditwascreatedspecificallyinthatway.Infilmsthemusiccanenhanceorcreatetheatmosphere,inthisproduction,asyouonlyhavethemusic,soitneedstonotonlyinformbutalsocreatetheatmosphere.Becauseofthisitisanextremelyimportantelementoftheproduction.

CMusicisnottheonlywaythatatmospherecanbecreatedonstage.Whatothertechniquesareusedinthisproductiontohelptellthestoryandcreateatmosphere?

d) lightingLightingisanextremelyimportantfactoroftheproduction.Asthereisonlyonesetusedlightingisaneffectivewaytoshowachangeinfocusandatmosphere.Forexample,inActTwothesetchangesfromonesceneinsideabartothenextsceneinaprisoncellwiththeuseofjustlighting.

CDescribehowthisisachievedintheproduction.

e) SoundSoundisusedinthisproductiontoheightenatmosphere,forexample,atthebeginningofSceneTwothereisthesoundofbuzzingintheairandinsectschirruping.ItisalsousedwiththecharacterofDinotogreatcomediceffect.

CThinkofsomeexampleswheresoundeffectsareusedaroundDino.Whateffectdoesthishaveontheaudience,howdoesithelpportrayhischaracter?Thinkofothermomentsthroughouttheproductionwheresoundisusedtoenhanceorcreateatmosphere.

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4. WORKSHEET AEveryday movements and gestures

Therearemanyeverydaymovementsthatarestylisedtomakethemintodancemovements.Thiscanbedonebyexaggeratingmovements,settingthemuptodifferentrhythmsandbeats.Inthefirstscenetyres,carsandchamoisleathersareusedaspropsandthemovementactionsareassociatedwithcars.Theshowerscenethatfollowsthisischoreographedusingverysimplegesturesbuttheyaretimedsothatitbecomesinterestingandexcitingtowatch.

EXERCISE 1

aACT ONE, SCENE ONE–Showerscene

• Createyourownbathinggesturesinpairs.Makesureyouusedifferentlevels• Joinwithanotherpair,usealineformation(ABAB)• Workoncontrastingphrasesandfindhowtheyconnectvisually.Whatlooksinteresting?• Adaptthetimingsothathighandlowlevelsareusedatdifferenttimes.• Addinamomentofcanonandunison.

Shower scene – Act One, Scene One

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EXERCISE 2ACT ONE, SCENE TWO.Thescenestartswiththebuzzingandchirrupofinsectsanditisclearfromtheoutsetthatitisextremelyhot.

CLookanddiscusswhatishappeningonstagetocreatethisfeelingofunbearableheat.Music: Whattempoisthemusic?Whateffectdoesthishave?Lighting: Describethelightinginthissection.Howdoesitaddtothemeaning?Sound: Whatothersoundsareusedotherthanthoseabove?Howdothesesoundscontribute

towardstheatmosphere?Movement: Themenusetheirshirtstostretchandmoveintheheat,thewomensit,exhaustedon

chairs,otherslieontheground,butallmovementsareslowandlanguid.Themovementisasimilarpacetothemusicbutwhatmovementsarebeingused?Howdothesemovementsindicateheat?Contrastthedynamicqualitiesofthisscenetothemechanicsdanceorshowerscene.

aIndividuallytryandimaginethisheat,thinkaboutwhateffectthishasonyourbodyandonthewayyoumove.

• Useashirtorachairifyouwouldliketouseapropandexperimentwithmovementsrelatingtothisscene.

• Choose2movementsandexaggeratethemovementtodevelopitintoamotif.Paycloseattentiontotherhythmofthemovement.

• Ingroupsofabout4–6,teacheachotherthemotifsandpracticevaryingdynamicsandspeed.• Createaphraseusingthemotifs,includingtransitionstolinkthem.Considerpathwaysand

directionoffacing.• Rehearsethissequence,workinginunison.Thissequencecanthenbedevelopedbyadding

repetitionandcanon.

Angelo’s solo – Act Two, Scene Two

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EXERCISE 3ExtendedpropworkFurthertotheexerciseabovesmallerpropsareusedthroughoutsuchascigarettes,towels,Angelo’schains.Eachofthepropseffectthemovementofthedancers,lookathoweachpropisusedthroughoutThe Car Man.

Forexample:ActTwo,SceneTwo.Angelo’ssolo.

CAngelo’shandsaretied–howdoesthisenhancehismovement?

• Thereisextensiveuseofdifferentlevelsincludingfloorwork.• HowdoesthissolodisplayAngelo’semotionalstateofmind?

a Individuallychooseapropfromthoseyouhaveseenbeingusedintheproduction.Findawaytointegratethispropintoapieceofmovement.Thinkaboutthefollowing:

• Howitinfluencesthewayyoumove• Howitchangesoreffectsyourfocus• Whathappenstoyourbodylanguage• Changethedynamicsofyourmovement,whatimpactdoesthishave?

Moveintopairsanddecidewhatpropyouaregoingtousebetweenyou.Usethispropinthesamewayasabovebutyoucanalsouseyourproptoplaywithstatusandmovementfromonepersontothenext.Findshapesthatyoucanholdwithyourpartner,thesemayinvolvecounterbalances,beingondifferentlevelsandbalances.Thepropyoudecidetousewillinformthestyleanddynamicofthemovement.Forexample.AcigaretteisusedduringthequartetinActOne,SceneOne.Itisveryplayful,andthepropispassedfromonetotheotherinarelaxedformation.ThiscontrastswiththeuseofthegunbetweenRitaandAngeloinActTwo,SceneFour.Thepropcreatestensionandfear.

CPresentyoursequencetothegroupanddiscuss.

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WORKSHEET BCharacters

The Car Manisaveryclearstorytoldthroughdance.Itfocuseson5maincharacterswhoarealllinkedwitheachother.

• Dino – Ownerofthegarage• Lana – Dino’swife• Rita – Lana’ssister• Angelo – Rita’sboyfriend• Luca – Adrifter

MatthewBournesaysthatindevelopingThe Car Manallofthedancershadtowriteabackhistoryfortheircharacter.

EXERCISE 1

CCanyouthinkwhatbenefitthismighthaveonthetellingofthisstoryandhowitmightimpactonthedancers’journeythroughouttheproduction?

EXERCISE 2

HowdoesMatthewBourneillustratethedifferentcharactersthroughhischoreography?Lookateachofthe5charactersandstartbywritingdown5wordsthatdescribeeachoneandhowthisisconveyedtotheaudience.Lookattheiraction,dynamicandspatialcontentandhowthiscontributestotheaudience’sunderstandingoftheircharacter.

Youmayfinditusefultowriteashortbackhistoryforeachcharactertoassistinabetterunderstanding.

RELATIONSHIPS DinoismarriedtoLanawhoishavinganaffairwithLucawhoisalsohavinganaffairwithAngelowhoistheboyfriendofRita.

Dino–Lana–Luca–Angelo–Rita

Luca and Lana – Act Two, Scene Three

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EXERCISE 3

aCreatingmovementfromtableaux

• Itmaybebeneficialforonegrouptoworkatatimesothatitcanbesharedwiththerestofthegroupanddiscussed.

• Inagroupof5youshouldeachadoptoneofthe5characterslistedabove.• Createatableauxorfrozenimagetoportrayeachcharacter.Youcanusesomeofthewords

fromtheexerciseabove.Thinkabouthowthecharactersmightstandinrelationtoeachother,butthecharactersshouldnotbetouchingatanytime.

• Youmaywishtointroducesomemusicatthispoint.Ideallyitwouldbeapieceofmusicfromtheproduction.

• Nowthinkabouthoweachcharacterwouldmove.Veryslowlystartmovingaroundthespace,don’tinteractwiththeothercharactersyet.Thinkaboutthefollowing:- Whatspeedareyouwalkingat?- Areyoulookingstraightaheadorareyouglancingaroundyouordown?- Whatstatusisyourcharacter?

• Whenthemomentfeelsrightbegintointeractwiththeothercharactersthataresharingthespacewithyou,howdoyoureacttoeachother,whateffectdoesthishaveontheothercharactersaroundyou.

• Inthisgroupthinkof3memorableorsignificantmomentsfromtheproduction.Ideallyitwouldbebeginning,middleandend.- Starteachmomentasatableauxandthenmoveslowlyintomovement.Payparticular

attentiontouseofspace,facialexpressionsandbodylanguage.- Eachmomentshouldlastnomorethan2minutes.- Sharethesewiththerestofthegroupanddiscusswhythosethreemoments

aresignificant.

BournebreaksconventionwiththecharacterofLuca.Heissetupasaconventionalmachocharacter.HearrivesinHarmonyandcourtsLanasoheissetuptobeaseduceroftheheroine.ItisthereforesurprisingwhenheentersintoanaffairwithAngelo.Bournedoesnotexpectedmodernaudiencestobetoosurprisedbythisrelationshipbutwithintheconventionsoftraditionaldanceitissurprising.

CThinkofanyotherplays,danceorfilmswherethemaincharacterdoessomethingtobreakconvention.Whateffectdoesithaveontheaudience?Whateffectdoesithaveonthestoryandthecharactersinthestory?Howdotheyreact?

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WORKSHEET Cduets

TherearemanyduetsthroughoutThe Car Man.Compareandcontrast.

EXERCISE 1

CRITA AND ANGELOTheirfirstduetinActOne,SceneOneisbothunsureanddelicate.Chairsareusedandtheliftsaremeasuredandgentle.

ContrastthiswithActTwo,SceneFour.ThisbeginsasasoloforRitawhenAngeloreturns.Apropisusedonceagainbutinsteadofchairsitisagun.

• HowhasAngelochanged?Andhowisthisshownthroughhisactionsanddynamics?• LookatRitainbothoftheseduets.Herbodylanguageinthefirstisopenandlovingbutinthe

secondduetsheisscaredandherbodyisstiffandunwilling.• Howdothedifferentpropseffectthemovement?

Angelo and Rita – Act One, Scene One Luca and Lana – Act Two, Scene Three

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EXERCISE 2

CLANA AND LUCATheirfirstduetinActOne,SceneTwoispassionate,intenseandstrong.ContrastthiswiththeirduetinActTwo,SceneThree.ItisclosingtimeattheclubandLucaisdrunk.HeishauntedbywhathedidtoDinoandAngelo,Lanamakeshimdancewithhertotryandforgetaboutwhathashappened.

• Lookattheuseofelevations,howdotheydiffer?Giveoneexampleofaliftineachduetanddescribehowtheyaredifferentandtheeffectthishasontheduet.

• HowdoLuca’sactionsanddynamicsshowthatheisdrunk?• Commentonthemusicinbothduetsandhowitinformstheaction.

EXERCISE 3Supports,counterbalancesandassistedliftsThereareexamplesoftheabovethroughoutTheCarMan,intheboththeduetsandthesolodances.InLuca’sfirstsolodanceheusessomeofthemechanicsforsupportashedancesalone.TheduetbetweenAngeloandtheprisonguardisanexampleofusingassistedlifts.

WORkING IN PAIRS

aUsing Partner As SupportAactsasthesupportbentoverwithhandsonthighs,elbowsin,headdown.Bcanusethisbasetopushoffduringjumps,cartwheelover.AsseeninActOne,SceneOne,thissupportcanbeusedtomoveacrossthefloorwhilstBisbalancedonA’sback.BcanalsorolloveracrossA’sbacktomoveacrossthefloor.

• Ingroupsof4find6differentwaysofmovingusingeachotherassupport.Themovescanincludejumps,rolls,cartwheelsandfloormovement.

• When6moveshavebeenpractisedasseparatemovementstryandfindawaytolinkthesetogether.

• Createatravellingphrasetolinkeachmovesothatitdoesn’tbecomestatic.• Varydynamicsandspeedandyoucanalsoplaywithcanonandunison.

Luca and Lana – Act Two, Scene Three Luca and Lana – Act One, Scene Three

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5. REFlECTING ANd REVIEWING

Reviewing live performance

GENERAL OVERVIEW:• Summarisetheplotin3–5sentences• Describethestyleoftheproduction• Diditremindyouofanyotherproductionsyouhaveseenorknow?• Whatwasyourpersonalresponsetotheproduction?• Whattheatricaldevicesandconventionswereused?

DIRECTION AND CHOREOGRAPHy: • Whatdoyouthinkthedirector/choreographerwastryingtoconveythroughtheproduction?• Doyouthinkthatthechoreography,setdesignandstagingsupportedandconveyedthis?• Wasthereaninterestingandvarieduseofstagespace?

DANCING:• Howwouldyoudescribethedancingstyle?• Whatdifferentstylesofdancedidyourecognise?• Weretheyallsuccessfullyusedwithintheproduction?• Whatcanyousayaboutthedancingincomparisonwiththedancinginotherproductions

youhaveseen?• Whogavethemostnotableperformance?Trytobespecificaboutwhyinyouranswer.

DESIGN:• Describetheset,costume,lightingandsound.• Whatkindofstatementdideachofthesemake?• Howdidthedesigncontributetotheproduction’smeaning?• Giveexamplesofhowthelightingenhancedthenarrative.

Quartet dance – Act One, Scene One

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6. ESSAY QUESTIONS

• WhyisMatthewBourne’sworkoftencalleddancetheatreasopposedtodance?• ItisdifficulttocategoriseMatthewBourne’swork.Bournebelievesthat“anymovementthatissetto

countstothemusicisdance,butIknowalotofpeoplewouldarguewiththisstatement”.Discuss.

• HowdoesMatthewBourneusehumourinThe Car Man?Identifywhereitcanbeseen.Whatisitaboutthemovementmaterialand/orchoreographythatmakesithumorous?

• MatthewBourneusesanumberofdifferentfilmtechniquesinThe Car Man.Forexamplesplitscreeneffect,slowmotionandflashbacks.Giveatleastthreeexamplesofwhenthesetechniquesareusedandtheireffectivenessonstage.

AddITIONAl RESOURCES

• TheCarManDVD(originalproduction2000)

• Ossessione(1943)basedonJamesM.Cain’s1934novelThe Postman Always Rings Twice.

• CarmenbyGeorgesBizet,Libretto:HenriMeilhacandLucovicHalevyafterProsperMerimee’snovel.

• RodionShchedrin’sCarmenSuite

Angelo and Lana – Act One, Scene One

Resource Pack written by Imogen kinchin

Tel: +44 (0) 20 7713 6766 Email: info@new-adventures.netWebsite: www.new-adventures.net