Symbolic Interaction Theory In Marc Bolan's Cosmic Dancer

The opening scene where close up is used showing the trembling fingers whilst placing the record onto the player leading into the tilting shot of Billy jumping up and down showing his excitement emphasises Billy’s love for dancing and symbolises the way in which it embodies him. Long shot of Billy making him look much smaller on the screen is used to foreshadow the harm and prejudices Billy might get from the society as he pursues his dancing career. The swinging door at the gym symbolises a barrier as well as an opportunity of his dream. Panning of the camera,close up and the low angle shots passing ballerinas feet before focusing on Billy’s reinforces that he is different as well as emphasising his preparedness to take risks for him to be able to pursue his dream. Shifts on the expressions of Billy and Jackie while they were arguing about ballet as well as the close up shot of Jackie grabbing Billy and holds him against the door highlighted Jackie as both physical and psychological obstacle of Billy’s

Everyday thousands of senior citizens and people with Alzheimer’s disease or dementia suffer from abuse by a caregiver. Most of the abuse is in the form of emotional or physical abuse, but there are also a number of different types of abuse including financial abuse. The abuse can either take place in a medical setting such as a nursing home or hospital, or it can also be done by the victim’s own family members. These senior citizens are mostly targeted due to the fact that they are mentally incapacitated; they do not have a very strong short term memory, and sometimes they do not have the ability to talk to another individual about how their caregiver has been abusing them.

In the beginning , Billy thought the landlady was ‘terribly nice’,which he was quite grateful to have such a nice landlady who give him a well-appointed service, but as the conversations go on, Billy was then frightened by her weird and creepy contents, he ‘sat there staring straight ahead of him into the far corner of the room, biting his lower lip.’ tells the readers that he’s begin to frightened and suspect landlady, foreshadowing the readers that she might be doing something that couldn’t be trusted by Billy.

The dance that I will be focusing on is entitled: thinking sensing standing feeling object of attention. The dance, to me, symbolizes the socialization of persons in Western civilization concerning gender roles. In the beginning there are gestures that are separated from emotion and full-embodiment, but as the dance progresses the gestures become more meaningful and recognizable. The lighting starts out very specific and narrow, then the light encompasses the entire stage, and eventually the dancers are silhouetted as they return to a familiar movement motif in the end. The music is mainly instrumental with occasional soft female vocals, and the lyrics suggest emotion, which is interesting because the dancers do not convey emotion until

Billy Elliot explores the concept of identity and how it can shaped and changed through life experiences. It tells the story of an 11-year-old boy named Billy, and his father, Jackie, amidst a mining strike in a town in Northern England during the mid-1980s. Billy creates his personal identity through dance as it is a means of expressing himself. In Billy’s world, strict stereotypes dealing with gender and sexual identity are enforced, which created not only an internal personal battle for Billy, but also an external conflict between him and his family. As a result, he was ashamed of and forced to hide his talent and passion for dance, shown in the quote, “I feel like a right sissy”. The song “Town called Malice” was played in Billy’s main

Billy Elliot, directed by Stephen Daldry, details the life of an 11-year-old working-class boy who is caught up in the poverty and violence of North-east England during the 1984 miner’s strikes. After a local ballet teacher discovers Billy’s raw talent for dancing, Billy decides he wants to be a ballet dancer. Billy had to overcome many obstacles in order to follow his new found dream. Two of these were family traditions and expectations, and social class. Billy also received help to overcome many obstacles, this help came from Mrs Wilkinson.

A powerful example of this function and adjustment of the structure is the choreography by Bill T. Jones for the original Broadway production of Spring Awakening. The musical portrays teenagers navigating burgeoning questions of sexuality and figuring how to express them. The choreography of Spring Awakening suggests “only their bodies...can express those feelings, for which they have no words” (Sulcas 1). This idea of the body being able to elucidate what words can’t heavily harkens back to the function of dream ballets. It is especially evident in songs like “Touch Me” and “The Guilty Ones,” which expressly deal with sexual feelings and acts of sex, in which it is really about the thoughts of one character, but Jones utilizes the bodies of the entire ensemble to express the urges the character is experiencing. The dances seem to “interrupt the actions rather than continue it” in order to place emphasis on the inner lives of the characters instead of the narrative plot structure (Sulcas 2). Although these dances do utilize lyrics in addition to movement to express these emotions, it is evident that the legacy of the function that dream ballets established lives on in musical

Over the course of this discussion and analysis the hope is to convey not only the social influences and meaning behind the song, but also the musical

While constantly aware of Miss Drew’s situation, Billy can’t escape the realization of his position’s possible transiency and the fact that his life depends on his usefulness in the gang: “all I had to remember was how small of a mistake was sufficient to change my fortune, maybe even without knowing it. I was an habitual accomplice to murder. I could be arrested, tried, and sentenced, to death”(123). From this, Billy is impressed with one of the fundamental rules that accompanies inclusion in gang life—absolute loyalty to the gang’s interests. Billy observes the consequences of breaking this rule of loyalty when he hops onto the boat and into the scene of Bo’s sinking figure, and later, when Schulz’s personal life becomes complicated with a pending courtcase. The gang loyally relocates to the rural small town of Onondaga to help ensure the boss avoids jailtime. After painstakingly building an amiable reputation in the town for the Boss, Schultz’s temperament leads to “the president” Julie Martin’s murder in the hotel. The entire gang dutifully cleans the room and removes the body with cover up concluding with and unprepared Billy being punched in the face. After the fact, Billy comes to see the necessity of his subsequent broken nose yet is internally insulted and cannot shake the urge to “get revenge” (159). This affront to his own ego caused a shift

The symbolic interactionist perspective would focus more on the meanings and symbols of mutilation. Women and adolescents would associate the meaning of mutilation by comparing themselves as pure and attractive. As they interact with others, they will conclude that it is a positive outcome of the procedure. The symbols and meaning associated with the mutilation could signify womanhood, pureness, virility, and allurement. Women and girls would symbolize themselves as these symbols when the procedure is carried out. The conflict theorist perspective would dispute on the socioeconomic reliance of women on men as it influences their character toward the mutilation. If the woman is mutilated, they have a higher possibility to marry a wealthy man.

3. By looking at both Jackie Elliot, Billy's father & as well as Shirley Hastings, Scott's mother, we can see that both of them are very vicarious parents, as they live their dreams through their children & expect their children to live & act in a specific way that they particularly desire such as with Shirley & Scott, she has made him do ballroom since he was a little child & has forced him to compete in the way that she wants so that he may achieve goals such as championships such as the Pan-Pacific Grand Prix, which she aspired to once winning which are actually her personal goals which she was not able to achieve on her own, so she forces Scott to dance the way that she would & that she wants him to in the hope that he would achieve these goals "on her behalf" as she is living through her child Scott. Jackie Elliot also pressures his son Billy to do boxing as he gives Billy his fathers boxing gloves & expects him to follow in the same footsteps as his family is known to be good boxers. Jackie himself is a very masculine male & expects his son to be the same, he wants his son to be masculine & do wrestling, football, or boxing but does not want him to do ballet because he is ashamed of it & it is definitely not something that he would ever do.

Billy Elliot, written by Lee Hall and directed by Stephen Daldry, is a film about an eleven year old boy named Billy Elliot (Jamie Bell) who is trying to find his own way as a ballet dancer in a small town in northeast England where Boys are expected to do boxing. Billy’s father (Gary Lewis) is a coal miner. The movie takes place during a time of struggle and violence, all situated around a labor strike. He lives in a tiny apartment with both his father and grandmother (Jean Heywood), and shares a room with his older brother Tony (Jamie Draven). Towards the beginning the movie, Billy is practicing boxing, when he notices Mrs. Wilkinson’s (Julie Walters) ballet class, which is being held in the same place because the dance classes normal place

Although it was difficult at times to observe each moment due to the location of our seating, I still saw a little bit of Nicholson’s solo in right corner of the stage. She suspended her legs and toes, with a slow and strong articulation of the feet, and dramatically fell to the ground. Similarly, Cooch suspended her arms forward towards the audience, while doing a demi plié and diminutively curving her spine, and gave a merciful gaze as if she was asking for help. Additionally, one of the male dancers in the vest suspended his right arm forward, fell forward towards downstage and catches himself. In addition to the suspension and the fall movements, the sharp and the angular movements were also prevalent in this piece. Throughout specific parts of the piece, while one dancer danced his or her solo, the others would move and walk downstage and then upstage very angularly in unison, with their feet flexed; almost as if they were robots. I interpreted this as if they were living machines that were the products of the consumer and materialistic culture in the

She is known for incorporating dances in her productions. I personally don’t see myself directing something entirely in dance; however, it’s a good technique to use for staging. This gives me the idea to imagine to the story plot without any words. That way, it would help me guide the actors through their emotions and actions.

For this solo piece, I chose to incorporate Laban’s theories into an interpretive dance. I display, not two different characters’ movements, but one character’s movements as he/she develops, learns, and grows throughout his/her lifetime. To do so, I will use shadows in the background to interact with the character in order to allow the audience to better comprehend my actions and movements throughout the song. As the actor, I conform to the story line and the character I am portraying by my movements and interactions with the shadows projected onto the backdrop of the stage.