ZooNation Performance Analysis - Term Paper Example

Introduction The quality and success of a performance concert depends on the arrangement of the theatre hall as well as the preparedness of the performers. I had a chance to see ZooNation performance at Peacock theatre just a few days ago. This paper discusses the show in regards to the representation of the place within the performance, the scenography and uses of space and the relationship created with the audience. ZooNation Performance Analysis The week was ending and I had not found a plan for the weekend. My friends called me just in time to inform me that they had heard about a performance at the peacock theatre. I did not want to pre-empt the show by doing an upfront research about the performing group but rather opted to get everything straight from the stage. When Saturday finally arrived, we drove to the theatre very early so that we could at least have the front seats for better view. Peacock theatre is specially designed for performances and on this particular day, one could tell even from outside decorations and organisation that the show was to be great. We could not help but get bewildered by interior design of the theatre as we stepped in. The performance was yet to begin but we were already overly excited about the theatrical arrangements. The hall was spacious and the seats were well spaced out. The seating positions were categorised according to class of tickets either VIPs or general. Lighting was well selected and the stage well decorated. It was through the curtain rising session that I learned about the day’s performers. Kate Prince was the founder of ZooNation Dance Company, which came into the realm in 2002. It has since then grown to become one of the best dance companies in the world. Once the curtain rising session was over, it was time for the long awaited show and the audience clapped and shouted with joy and anticipation. Stage lighting directors were doing their work perfectly. The lights went off, the curtain closed and silence fell for a second or two. Then the lights went on and the curtains opened concurrently revealing the whole group on the stage. It was so impressive to see the whole group on stage as they took one turn at a time to introduce themselves in a funny way. The narrator opened up the show it felt like it was a fairy tale. He was using the space around him effectively by walking from one side of the stage to the other whilst walking up and down sometimes reaching out to the audience. Gibbons argues, “The artistic process of choreography and performance are parallel, and mutually interactive, and both contribute to the dance performance” (Gibbons 2007, p. 192). The mixture of narratives, dances, songs and other theatrical techniques made the whole play captivating and lively throughout the show. It was impressive how the performers artistically mixed their voices as they narrated, sang and danced. Two of the main singers had great vocals that blended well with the narrator and the background music. The well calculated and articulate use of stage, rapid and slow movements, use of gestures and body movements as well as varying narrative tones created a story. A person could even tell the theme of the story by just looking at their stage movements, change in stage lighting and body actions. One unique thing about the stage arrangement was that its level above the ground was well calculated. The level was such that people near the stage had to raise their heads for a good view. The floor holding the audience was raised stepwise as one went at the back. This created audience-actor connectivity. The people at the back experienced the same actor distance as the people in front. Additionally this setting allowed the people at the back to see and hear the performers without having to raise their heads or strain their ears. It is recommended that, “The stage is usually 6’ off the ground. This elevation enables the audience to see the performers without obstruction and keeps folks from crawling up onto the stage.” (Abramson 2009, p. 217). Stage and theatre lighting plays a very important role in story and narration development. I found it very articulate how the theatre lighting was changing with every change in the action on the stage. The light one the audience was particularly dimmed in reference to the stage lighting. This enabled everyone to see the stage clearly without light reflections. Additionally, stage lights were facing away from the audience to the stage. There were several spotlights of different colours, which kept on following the narrators as they narrated, sang and danced on stage. I found it interesting and thoughtful how the entrances to the stage were arranged. There were five entrances, two on either side of the stage, one at the centre and the remaining two were front entrances to the hall itself. It was amazing how the actors used a wide variety of combinations of all the entrances. This enabled them to create diagonal, horizontal, vertical and other stage movements without interrupting the view of the audience. The curtain movements were also automated well synchronised with every scene. Unlike in music performances, the sound system was tuned down to comfortable volume level such that everyone could hear everything clearly without straining the ears or interruption by blasts of noise from the speakers (Minton 2007). The dancers used a wide variety of stage tools such as cages, stools, ropes and spools. One of the acrobatic dancers did the most amazing stunt when he summersaulted from a raised cage down to the floor. Others would move from one side of the stage to another either summersaulting or doing other stunts and tricks. I found this very enthralling and stimulating. The moves made the audience follow the play from the beginning to the end without getting bored. Of utmost importance was use of audience participation. Every now and then actors would pose a question that would prompt the audience to answer, comment or cheer hence creating a participative environment. Occasionally, narrators would step down briefly from the stage, walk to the audience, and then go back to the stage. This was very good since it created a connection between audience and the performers (Kattwinkel 2003). It was easy to tell that director, dancers, narrators and scriptwriters were all experienced and well organised. The story line developed so well and was intermittently interrupted by artistic literature styles such as suspense and silence. In addition, the narrative used wide variety narrative tools such as irony, rhetorical questions, and tone variations among others to develop the theme of the story. This was accompanied by background music, change of lighting, costumes, and articulated stage movements. Energy and enthusiasm filled the stage. The performers were adequately prepared organised and focused on their performance. The performers doing the acrobatics and dance routines did it so perfectly without a hitch and it would sometimes leave the audience bewildered. Narrators were fluent with their impeccable English, which they incorporated with tone and voice variation to create an emotional attachment with audience. It was evident that performers were well versed with the Peacock’s theatre stage. The concert theme demonstrated past events that occurred in past centuries and the costumes demonstrated that well. However, the artistic acrobatic moves, stunts, and music brought in elements of modern entertainment. “The choreography is persistently original and exciting, combining contemporary dance and hip hop with ease, creating traditional duets that sit seamlessly alongside break dance battles” (Columbus 2011, p. 1). It took us back in time and blended well with modernity. This made it possible for audiences of different ages to connect, participate, and enjoy the concert. Furthermore, the play did not have obscene or sexually explicit scenes thus it was appealing to all ages of people including young children. Although the performers were acquainted with their performance, I noticed the gender balance on the group. There was definitely the same number of men and women, which was perfect for a performance talking about oppression of women in the society. It is claimed that, “the nature and mixture of gender, ages or both will influence the stylistic features of the dance design” (Nzewi & Odyke 2007, p. 75). The gender balance was necessary to ensure that all the roles of the play were well illustrated and theme well developed. It also created a good audience performer connection since every gender was equally represented. There was one unique difference between this performance and general music performance. The performers developed the plot from a low tempo to average then the climax came near the end. However, the climax retraced slowly and the show ended with a cool song performance by all the actors together on stage. Music concerts end with the climax at the far end such that there is hardly any performance or time left after the climax. I found this rather unique. Conclusion ZooNation show was exemplary. The performers used the stage articulately to drive the theme of their performance home. Theatre setting was perfect, comfortable, and convenient for all audience. Everybody was entertained and the show will live to be remembered. References Abramson, H. 2009. How Not To Promote Concerts & Music Festivals. Concert Promotions Manual, New York. Colombus, K. 2011. Some Like It Hip Hop. Viewed 3, November, 2011 Gibbons, E. 2007. Teaching Dance: The Spectrum of Styles. AuthorHouse, London. Kattwinkel, S. 2003. Audience participation: essays on inclusion in performance. Greenwood Publishing Group, New York. Minton, S. 2007. Choreography: a basic approach using improvisation. Human Kinetics, Canada. Nzewi, M & Odyke, N. 2007. A Contemporary study of musical arts: the foliage: consolidation. African Minds, South Africa. Read More