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Does this section have any movement developed from other sections? 

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Does this section have any movement developed from other sections? 

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Little Red Rooster
- Elvis Legs
- Adjusting of the tie
- Head bop whilst strutting to the side

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How is space used in this section to explore the key themes of the work?

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How is space used in this section to explore the key themes of the work?

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The use of space in 'PWF,' is used to demonstrate the power dynamic between the two in the relationship.
- Use of feather bower
- Pull across stage
- Feather in between them, separating
- Ball change across stage
- Vice Versa- Pulls back with the male leading
Signifies the fight for control/Immaturity in relationship/Power dynamic

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What choreographic devices are used in this section?

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What choreographic devices are used in this section?

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- Repetition of key motifs
- Accumulation
- Action Reaction

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Give me 2 dynamic qualities used in this section?

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Give me 2 dynamic qualities used in this section?

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Playful
Energised

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- Social Status
- Power Play
- Relationship Dynamics

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How is this section typical of Bruce's style?

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How is this section typical of Bruce's style?

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- Typical use of Social Dance
- Close attention to the music
- Relationships
- Attention to lyrics, direct correlation with lyrics
- Bull fight- Similarities to 'Cruel Garden'
- Social Status- Socio/Historical/Political subject matter elements

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The male dancer who is standing center stage facing the audience, in a wide second position his knees flop in an out and repeated twice, with bent elbows and relaxed hands. This represents 60s pop culture through social dance of the jive, but also representing the famous Elvis move, depicts a confidant, arrogant young male.
The male dancer is facing upstage and the female dancer is facing upstage in front of the male dancer in a tight hold where the male is pulling the female's hips into his groin, in a wide second position with one hand around the female dancers waist, pushing their hips forwards in a circular motion. This movement is highly sexualized which represent a young couple and them exploring courting rituals. It also show us this more promiscuous side and this change in the 60s with peoples sexual freedom due to the creation of contraception and post-war attitudes.
The female dancer and the male dancer standing center stage facing each other. The female dancer places the feather boa on her left side, the male dancer reacts with a repeat movement of the cockrel strut where his hands are placed infront of with relaxed hands and bobbing of the head while taking a long step forwards. This represents this animalistic characteristic of a cockral who is prowling looking for a female to mate with.

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Lighting in this section - Interpretation

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Lighting in this section - Interpretation

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Minimalistic Lighting
General white straw wash over the stage

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What key themes of the work are explored in this section?

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What key themes of the work are explored in this section?

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'Play with Fire', mirrors reference to the majority of major 60's ideologies and phenomenon. One key theme explored is social hierarchy and class, and how these are viewed by someone of a different hierarchy in society. This is correlated through movement and lyrics of the song, alongside the use of the prop used as a temptation device. For example, there is a moment whereby the male dancer is kneeled on one knee, facing upstage left on a diagonal to to the female dancer, she then proceeds to forcefully place her feather bower in a loop over hi, for him to abrupt fully lean over to one side to fall on the floor, with an animalistic essence through hands places in front of his chest and the quality in which he falls to the floor. The loop depicted to entrap him then lets loose when he falls out, showing her to loose power. The act of entrapping the male dancer, is demonstrative of the female dancer making an attempt to lure him into her social position, but then failing to do this when he breaks the entrapment, demonstrating himself not wanting to be held down and trapped in a societal position and relationship he doesn't want, therefore presenting this theme of differing societal positions and expectations clashing.
Another key theme explored is male chauvinistic and narcistic attitudes and bravado men pursue when faced with women paired with courting and dating rituals in the 60's, demonstrated through the male dancer appearing to get ready (e.g.' adjusting his cuffs, brushing up his lapels) with a central arrogant quality.

A final theme explored is sexual temptation and lust which derives from this youthful relationship portrayed. This stems from not just how men objectified and viewed women at this time but also the improved female freedom, which emerged from the women's rights movement which took place, where women fought for individuality and power, but also the legalization of he contraceptive pill in 1950, which permitted women to sexually explore with less doubts and worries, which began the 'free love' phenomenon, something Bruce has explored in this section.
- Slapping her bum
- Using the feather bower
- When she puts her foot in between his legs

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At the end of 'Play with Fire', the two dancers finish placed center stage in silence. The male dancer points at the female facing stage left, with an arrogance presented in his expressive qualities. Thee female dancer then proceeds to forcefully raise her elbow up and abruptly nudges her elbow down on top of his finger with a clasped fist and stern look in her face, she then exits off center stage left, leaving the male dancer standing on stage. This transitional moment, wholeheartedly communicates the nature of the dance- The youthful, playful relationship these two share, demonstrated through this childlike gesture of elbowing one's finger, showing the early stages of courtship, and also exploring this idea of improved female power and freedom, correlated through her taking initiative to tell him he's in the wrong asserting her own power over him.

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After the end of Ruby Tuesday, she walks off downstage left twirling her hair and looks upstage as the female dancer for play will fire walk on slowly from upstage left and looks downstage at Ruby Tuesday. When both dancers cross each other we can see that both come from different social status through the spacing as Ruby is DS and Play with fire dancer is US, we know this through the lyric in Ruby Tuesday 'who could hang a name on you' this shows we cannot tie her down or place her in a social group, compared to the Play with fire where they say 'your mother she's an heiress' this shows us she has a high status due to her family finance.

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The female dancer wears a short sleeved cotton, shoulder cut off, black dress, covering the majority of her chest area. The dress is of a shorter length, cutting off at around her mid thigh and contains bright red peaks on the inners, which we glimpse through movement. She also carries a wholesome red, fluffy bower which incorporates into her movements. Her costume makes links to improved female freedom, a common exploration within 60's culture in this piece, through the shorter length and more skin reveal, demonstrative of improved women's rights and power through the women's rights movement which took place in the 60's. The red peaks on the dress, also being the color of the bower could potentially represent the passion women felt during this movement whilst fighting for their rights, also making reference to improved sexual freedom and the 'free love' movement which took place and is explored in the work, with the color red being a representative of lust and temptation, culminating with the movement which references to a deeply intimate relationship, packed with sexual temptation.

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- The male dancer in play with fire is wearing a velvet dark blue blazer
- Wearing a green buttoned up collared shirt
- Wearing a dark pink tie on top
- Wearing black tailored trousers
- Black jazz shoes

Why:
- By wearing the velvet blazer it is a reference to the fashion style of the Beatles and the rolling stones pop icons in the 60s
- the mixing of the different colours of blue, yellow and pink is a reference to the use of LSD in the 60s and how the drug caused colourful hallucination which influenced the colour scheme

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Well you've got your diamonds
And you've got your pretty clothes
And the chauffeur drives your car
You let everybody know
But don't play with me
'Cause you're playing with fire

Your mother she's an heiress
Owns a block in Saint John's Wood
And your father'd be there with her
If he only could

Your old man took her diamond's
And tiaras by the score
Now she gets her kicks in Stepney
Not in Knightsbridge anymore

Now you've got some diamonds
And you will have some others
But you'd better watch your step girl
Or start living with your mother

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07. Play With Fire, from Christopher Bruce's 'Rooster'. Music by Rolling Stones.