Анализ хореографии

The two women almost run from one side of the room to other.

The audience in the room is fully attracted by the two women in the idle of the room. The women look at them and are starting to rise from their sits to join the fighting. They are moving slowly yet thus the shift to the next stage is realized.

This stage is great illustration of Gades style of choreography where there are no bright costumes that create a performance and there are no easy tricks to attract attention — there are feelings and emotions — a real performance of life that absorbs all the spectators with its natural character and level of passion. What is more, the dance that is performed by the two women is based on simple geometrical figures.

4. The fourth part.

In the last part of the scene nearly all the women are involved in dancing. They rise from their seat and take the side either of Carmen or of her antagonist. This is the highest point of the confrontation in the scene when all the women participate in this «fight». The best phrase to characterize the part is «aggression reaches its highest pints and tension between two groups gets critical». Nevertheless, the women are not that aggressive as two main protagonists are. They maintain tense eye contact and continue moving in a crowd as if they did not see anyone else in the room.

This part of the dance is less theatrical but more energetic. Maybe this seems due to the fact that the rest of the dancing women do not pretend to participate in the fight itself actively — they merely create tension, scandal and a crowd around two fighting women who continue to make theatric movements, bending and arching their backs in the run of the dance.

T here is no signing as well as in the previous part of the scene and all the women are involved in the events happening in the middle of room. T hey are all split into two confronting groups that go apart and then face each other again. I n the end of the scene Carmen goes to her table and takes the knife that was lying there.

P robably her antagonist did not notice the movement or she just did not pay any attention to it. B ut in several moments after anther lap of confrontation when the women surrounded the two antagonists and the conflict reached its peak Carmen uses her knife and cuts the throat of the other woman. T he beating stops, the movements stop and the group of the wounded woman takes her to the other side of the room. C armen is excited but not scared — probably she is still angry with the one who offended her.

The woman is murdered and the dance stopped.

The scene comes to an end and it gives no information on the future of Carmen or the other woman. However, this is a characteristic feature of the Gades' works — a story inside the story was just a performance where there is no blood and the spectator remains in doubts whether the murder took place or it was just a scene of a dance.

Conclusions.

The choreofilm of Saura and Gades did not really intend to be a movie or a dance but a fusion of the two and a natural mixture of emotions transmitted by the two genres of art. Thus, both artists managed to express their points of view and the perspectives on the myth of a passionate gypsy.

T here were no special bright flamenco costumes and no complicated sets of steps that are characteristic for traditional flamenco. A nd this is the vision of Gades who thought that the real beauty of the dance its real expression lies not in numerous complex pirouettes but in the quality and the emotions behind each one of them.

T herefore, the dancers were never dressed as for a concert or a flamenco performance — they were wearing rehearsal costumes or ordinary clothes. T his is the way of doing things Gades was taught by Pilar López. G ades earned aesthetics and ethics of dance and realized that precision of gestures was far more important than number of gestures or steps.

Thus, the flamenco of Gades became less mannered but got more motives of real emotions as they are performed in theater.

O verall characterization of the Gades' Carmen is a tendency towards re-hispanization. T he myth of Carmen was created by a French author and further adapted for opera by another French composer as well.

G ades decided «to take Carmen home» and show Spanish perception of this gipsy’s fate. T he world has long ago forgotten what real Carmen is and Gades who has always been interested in this character decided to show her Spanish soul again. H is precise and geometric flamenco, so simple and accurate, is the best way of presenting the story inside the story.

T he women performing the scene that was analyzed in the work were all young and beautiful but they were not bright as flamenco performers. T his peculiarity adds to feeling of real and close events that are taking place in the room. Their performance that has much of theatrical interpretation of real life makes the dance the best way to show the confrontation, the passion, the hatred and the dynamics of the conflict that the women have between themselves.