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Aspects
of Classical Greek Dance
The concluding part of our series that looks
at the varying Classical Greek styles
Pyrrhic
Dance
The Pyrrhic section of the Classical Greek Dance Syllabus
is mimetic of warriors in battle, both in conflict and
triumph. Due to the strength and agility required for
this type of dance, the movements do not appear in our
syllabus until Advanced 2, and are a further development
of the Athletic work. They require, above all, greater
physical strength and precision, a firmer posture, a
more decisive line when moving and an acute awareness
of musical rhythms. The main movements are those of
attack and defence, building from simple marching, running
and lunging to broadly elevated skips and leaps.
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Example
of Choric Dance
Photo by Elaine Mayson
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The
use of relaxation and its application is important in
all dance genres, as the muscles will become tense and
lose power if the dancer does not use a slight muscular
relaxation after every forceful movement. In Pyrrhic
Dance each intake of breath and each action must be
followed by a momentary relaxation. This quick interchange
of tension and release is one of the most difficult
qualities to achieve and without it the rhythm and power
of Pyrrhic is lost.
Rhythms are often complex in Pyrrhic Dance, many dances
are created from a single drum beat and often rhythms
develop into five or seven beat phrases. Dance movements
should continually change speed or rhythm to create
a true interpretation of battle. Alternatively some
modern day music, particularly synthesized or computerised
film themes, is powerful enough to allow the atmosphere
of battle to be set and carried through quite successfully.
Tragic Dance
Tragic dance deals with the universal and timeless subject
of grief and loss. Centred around movements based on
the Rituals of Mourning, this form of dance requires
a sincere approach and a mature understanding. As such,
as with Pyrrhic dance, Tragic Dance does not appear
in our syllabus until Advanced 2.
Tragic dance provides a broad range of movement shape,
from the distinct Gestures of Tragedy to the elegance
of the Gestures of Worship. The Rituals of Haircutting;
The Ritual of Beating and the Funeral Torches all give
a wealth of designs that can be used choreographically.
As
first look, Tragic dance seems remote and somewhat unconnected
to our life experiences today. However, one only has
to see news footage from around the world to recognise
some of these ancient gestures in very current and indeed,
tragic circumstances.
Choric Dance
This is the culminating point of Classical Greek Dance,
coordinating mind, body and spirit into one rhythm,
using every type of movement, step, design and gesture
to interpret the ‘spoken word’ or ‘sound’.
Example
of Choric Dance, Photo by Elaine Mayson
Movement to words is the linking of the feeling and
style of a poem to the dance technique. If a verse has
no regular measure or beat then the movement has to
link to the words themselves. The dancer should, however
find the climax of the emotion; all movements in the
dance should synchronise with the crescendo and diminuendo
of the lines and be in rhythm with the spoken word.
The value of interpretation of verse by movement lies
in the fact that it gives significance to every step
and action performed. In Ancient Greece there was no
division between acting and dancing as in present day
theatre, many of the plays were written to be interpreted
in movement, and when writing them the authors always
had the dancing of the chorus in mind, everything from
comedy to tragedy.
Above all, we must remember the words of Ruby Ginner:
"when selecting verse for Classical Greek Dance
the movement must not interfere with the meaning of
the verse but rather add to it and enhance the rhythm”.
For any information on any aspect of Classical Greek
Dance, please do not hesitate to get in touch!
Carol Vasko |
