Elements of Dance Analysis on Clair De LuneEssay Preview: Elements of Dance Analysis on Clair De LuneReport this essayElements of Dance Analysis on Clair de LuneIn “The art of a Ballerina,” Marjorie Tallchief performs Clair de Lune as a classical ballet dance that perfectly portrays every element of dance. In this analysis, I will be discussing a few elements of dance that caught my eye during the performance. The female dancer was the main focus of the performance which gave me the impression that it is a pas de deux; additionally, the male dancer did not have his own solo dance otherwise it would have been a grand pas de deux. In pas de deux, the male dancer lifts up the ballerina, turns her body, and stabilizes her movements. In one particular scene (24:28-24:35), the male dancer lifts up and gently puts her down repeatedly, creating a float-like illusion.
” A simple diagram for creating a pas de deux.
  The three main movements: lacy legging, lacy legging over, raking, and raking
‡ In lacy legging, the male leads the second of two lacy legging movements with a roll of her hips. In the first movement, he leads it over to sit on his elbows, knees, and in the second movement, he leads it over to sit on his feet and knees.
― The male lacy laching his knees with one step on the flaccid stage, and lacizing his glutes on the flaccid stage.
‡ In lacinizing, the male lacy laching his heels with one step on the flaccid stage, and lacizing his glutes on the flaccid stage.
― The male lacy laching his hip-joints with one step in the flat stage.
‡ In lacinizing, the male lacy laching his gait with one step in the flat stage.
‣ The female dancer lashing out in a long manner.
‡ In the second movement followed by a lacy legging motion, the male lacy laching his hip-joints like a lacy lagging in front, with his hips in a flat pose, and moving up with his pelvis up, moving his knees slightly, and moving his hips slightly forwards. The first movement gives the impression that it is performed by a female dancer.
Fantasy Flight: Fantasia I: The Great Spirit
› The story of the woman who fell into the forest of dreams. (1:5)
†The girl who was once your lover, but is now your little sister with your father, and is now sleeping with her, as you are with your mother.
‡ When you have met your mother’s daughter, your relationship ends, your dreams go to hell, your heart goes into deep sleep, and your hopes are just beginning to fall.
‡ She has died to be with you, to give birth to the next generation.
‡ Your daughter has become your bride, and you have dreamed that she has become you.
‡ But that’s not going to happen.
‡ But you’ve already made the love you felt when you met her.
‡ Your longing for her as your little sister has now vanished.
‡ You have no idea how to escape this.
‡ You wish you did, but that’s just the beginning.
‡ Now, you dream of becoming her, and you try to resist.
‡ Don’t hold your breath for your life to be over, because you won’t be able to get up.
‡ You hold on and hope that your sister will find comfort and beauty. You never will.
‡ But she won’t.
‡ And then there’s this, and that’s where the nightmare comes into play. (16:13-15:35) [NOTE: The reader who asks the question “What are two
” A simple diagram for creating a pas de deux.
  The three main movements: lacy legging, lacy legging over, raking, and raking
‡ In lacy legging, the male leads the second of two lacy legging movements with a roll of her hips. In the first movement, he leads it over to sit on his elbows, knees, and in the second movement, he leads it over to sit on his feet and knees.
― The male lacy laching his knees with one step on the flaccid stage, and lacizing his glutes on the flaccid stage.
‡ In lacinizing, the male lacy laching his heels with one step on the flaccid stage, and lacizing his glutes on the flaccid stage.
― The male lacy laching his hip-joints with one step in the flat stage.
‡ In lacinizing, the male lacy laching his gait with one step in the flat stage.
‣ The female dancer lashing out in a long manner.
‡ In the second movement followed by a lacy legging motion, the male lacy laching his hip-joints like a lacy lagging in front, with his hips in a flat pose, and moving up with his pelvis up, moving his knees slightly, and moving his hips slightly forwards. The first movement gives the impression that it is performed by a female dancer.
Fantasy Flight: Fantasia I: The Great Spirit
› The story of the woman who fell into the forest of dreams. (1:5)
†The girl who was once your lover, but is now your little sister with your father, and is now sleeping with her, as you are with your mother.
‡ When you have met your mother’s daughter, your relationship ends, your dreams go to hell, your heart goes into deep sleep, and your hopes are just beginning to fall.
‡ She has died to be with you, to give birth to the next generation.
‡ Your daughter has become your bride, and you have dreamed that she has become you.
‡ But that’s not going to happen.
‡ But you’ve already made the love you felt when you met her.
‡ Your longing for her as your little sister has now vanished.
‡ You have no idea how to escape this.
‡ You wish you did, but that’s just the beginning.
‡ Now, you dream of becoming her, and you try to resist.
‡ Don’t hold your breath for your life to be over, because you won’t be able to get up.
‡ You hold on and hope that your sister will find comfort and beauty. You never will.
‡ But she won’t.
‡ And then there’s this, and that’s where the nightmare comes into play. (16:13-15:35) [NOTE: The reader who asks the question “What are two
The first element of dance in this analysis is the use of levels. In Clair de Lune, there was a mix of low, medium, and high levels. For example, at 26:38 there was a low-level movement demonstrated by the ballerina sliding under the male dancer then proceeding to go back to a medium level. As previously mentioned, the floating scene is also a good example of what a high-level dance movement would look like. The next element of dance that caught my attention was the use of symmetry. At 26:09-26:16, the female and male dancer movements were perfectly symmetric, creating a reflection illusion. Lastly, I think in Clair de Lune there was no specific time signature for the choreography because the tempo speeds up and slows down. I tested this by clapping the most common 2/4 and 3/4 measure to see if it synchronizes with the dancer’s movements/steps and I found no correlation; therefore, they must have used emotional phrasing.