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VISUALS Lab coats, laboratory apparatus, sparks and flashes of electricity, frogs in petri dishes
Human electrocution image followed by a sideways mechanical shutter effect
Scientific experiments in electricity; Frankenstein. Death by electrocution.
Stark, cruel, brutal, functional
SOUND Electrical fizzes at the start disappear inside ascending and descending string arpeggios and are overlaid by new baroque-style music.
Beat is relentlessly regular, rhythmic & bouncy; an octave jump on strings is played in a detached, staccato manner.
Busy little melodic semi-quaver runs and scales ascend and descend on violins
The music is in a minor key & the bouncy rhythm fades beneath the return of sharp, electrical sound effects: hums, buzzes and ‘zsst’ noises and thunder and more metallic harmonics on ascending violins
Locates the period as early c18th Baroque; the era of experiments in electricity. Comedic, lively, bouncy, twitchy: optimistic, positive
Multiple notes all leap about at different times – the frogs have escaped!
The bouncy, lively comedic mood is disrupted with hints of pain, cruelty & confusion.
MOVEMENT Repeated images of flexed knees & feet, sharp twitching gestures of head, knees; arms are inertly tied to sides.
‘Frog-shaped’ balances, lifts and jumps of varying sizes eventually give way to straight legs and a more upright stance; dynamic remains jerky and sudden.Chris breaks from the group – flambuoyant, naturalistic gestures: beckoning, pointing, nodding. He manipulates Al into a standing position & removes his lab coat
Al is hauled up to the roof. He kicks, struggles, then hangs still.
Electrified dead frogs

Comedic light mood turns more sinister with the gradual transformation to more human shapes
Chris is the lead scientist – Frankenstein perhaps? So Al is the monster.
Discomforting: we witness death by electrocution

Summary of Meaning, Mood and Significance

Though it can seem effortless, keeping in time with your fellow dancers is a vital element of performance that takes practice and focus.

Motionhouse dancer Martina Knight discusses the trials of synchronisation in ‘Lighting Storm’.

This scene as a PDF

Charge is supported by

Warwick Arts Centre, Rothschild Foundation, Ernest Cook Trust, Tipping Point, Stories of Change

Official energy partner of Charge

First Utility

Motionhouse is supported by

Warwick DC, Lottery Funded, Arts Council England, Vitsoe, John Ellerman Foundation