category as imaged as from the social situation at “psychologically removed large” (p.57), displaying gestures that sort of submission to the source of imply “some … such as an (p.63). This, as he describes, consequently stimulus” (p.62) “away look” portrays an image of from the physical scene around which “mentally drifting them” he further defines as a Flying angels physically drift, float or “going ‘away’” (p.65). from the situation. This happens by the dancer being lifted, being on something ‘fly’ to give them more physical height, or performing movement that aims to give the illusion of floating. For example: the opening scene of Strange Fish with the female character on the cross, the scene in Freedom where the dancer is actually low on the ground but the wind machine affect creates the allusion of her possibly floating high and the scene in Dear Body where the dancer is moved around on a chair with wheels. Flying angels evoke images of the traditional ballerina as “etherealized scarcely resting upon the ground and suspended just slightly above the earth”, seemingly off from her and as something light and white “cut being” “shown … (Stokes (1935) cited in Alderson, 2003, p.129). It is clear to see where such stereotypical images come from in a dance context, a point that takes us back to explanation of cliché chains. Women presented as pure and virgin like Stanislavski’s has been widely recognised as a classic stereotypical representation of women in dance (Dolan, 2013, p.2). A character exhibiting extreme lost-ness can transform into a flying angel seeming to suggest a lack of ability to deal with the situation at hand and instead cuts off from her being and simply drifts away from it. For example, the first scene in 7734 in the above table, in which a female character becomes lost and trapped, subsequently seems to disassociate by switching into solo in which the movement focuses on the arms which are extended outwards, reminiscent of flying, after which
category as imaged as “psychologically removed from the social situation at large” (p.57), displaying gestures that imply “some sort of submission to … the source of stimulus” (p.62) such as an “away look” (p.63). This, as he describes, consequently portrays an image of “mentally drifting from the physical scene around them” which he further defines as a “going ‘away’” (p.65). Flying angels physically drift, float or ‘fly’ from the situation. This happens by the dancer being lifted, being on something to give them more physical height, or performing movement that aims to give the illusion of floating. For example: the opening scene of Strange Fish with the female character on the cross, the scene in Freedom where the dancer is actually low on the ground but the wind machine affect creates the allusion of her possibly floating high and the scene in Dear Body where the dancer is moved around on a chair with wheels. Flying angels evoke images of the traditional ballerina as “etherealized scarcely resting upon the ground and suspended just slightly above the earth”, seemingly “cut off from her being” and “shown as something light and white … (Stokes (1935) cited in Alderson, 2003, p.129). It is clear to see where such stereotypical images come from in a dance context, a point that takes us back to Stanislavski’s explanation of cliché chains. Women presented as pure and virgin like has been widely recognised as a classic stereotypical representation of women in dance (Dolan, 2013, p.2). A character exhibiting extreme lost-ness can transform into a flying angel seeming to suggest a lack of ability to deal with the situation at hand and instead cuts off from her being and simply drifts away from it. For example, the first scene in 7734 in the above table, in which a female character becomes lost and trapped, subsequently seems to disassociate by switching into solo in which the movement focuses on the arms which are extended outwards, reminiscent of flying, after which