|
Aspects
of Classical Greek Dance
The second instalment in a series that takes
a look at the versatility of Classical Greek Dance
Ritual
The Ritual style of movement is so called because it
has, at its heart, the Ancient Rituals and worship of
the Greek Gods. Dance and movement played a significant
part in worship in ancient times, evidence of which
can be found in the artwork, and on the pottery left
by the Ancient Greek civilisation.
The
eight offering positions form the basis of the style.
These positions indicate the carrying of certain gifts
that were brought in procession to the temples and dedicated
before the altars of the Gods. The style, in its purest
form consists mainly of walking and gliding steps. The
ritual style requires a sense of poise and sensitivity
of expression, and demands a calm, sedate and sincere
approach. It teaches the importance of the use of the
hands as an expressive tool, and an accurate, controlled
use of the feet. Ritual dance also teaches a dancer
the value of stillness and repose.
Above:
an example of Bacchic style, seen here being danced
at this year’s Theatre Faculties’ Congress,
which was held at Laban in April
Bacchic
In complete contrast to calm and sedate ritual style,
Bacchic Dance, is exciting and explosive. Dionysus was
the God of the vine, wine and revelry. Also known as
Bacchus, he is closely associated with this form of
dance. The technique in the body and arms is, at times,
far removed from the norm. Movements are often abandoned
and completely exaggerated in a way that differs from
any other form of dance, to reflect the frenzy of the
followers of the God. Musical rhythms can therefore
be varied, almost any time signature can be interpreted
and often the more unusual or bizarre adds to the excitement
of the choreography.
Steps can be divided into three types. Firstly, those
of the Panther, one of the sacred symbols of Dionysus;
stealthy, sinuous and predatory. Secondly, into the
Maenads, the entranced maidens carrying the offerings
or 'thyrsus' in procession; seductive, sensual and intimidating.
And thirdly, the vulgar Satyrs, half-man and half-goat,
dancing with turned out legs and turned up feet, crushing
the grapes in revelry.
The Bacchic style is complex and hugely varied, and
as such requires a certain level of maturity. Physically
demanding, the style requires flexibility and, of the
course, the core strength to control it!
Carol Vasko
Next issue: Tragic, Phyrric and Choric dance. |
