The old thread was too old to reply too, so I had to start a new thread. Rick (balletdog) asked me to post my choreography. Here's Scene 2. Just a few things: It's extremely long. I'm sorry it's so long, but I had detailed port de bras, which can be changed, but anyway, it's very long. I didn't put in pas de deux since that wasn't my job, so I don't know if there was supposed to be any in this scene. Also, sorry I cannot spell in French! I hope you'll understand what I'm saying. The way I formated it is so there is only one time listed next to each paragraph of choreography. This means that the choreography goes from that time, until the next time listed with the next paragraph. One last thing, when I say arms in third position, unless I specify, I mean Russian third. I said Ceccheti third otherwise. Here it is. Let me know what changes it needs.
0:00 – On stage right, Titania enters on the downstage side on the first music. (The music does a little bit, then stop, a little bit, then stop, and then it keeps going.) On the first little bit of music, Titiania enters by doing a glissade into a pas de chat into reverence or b plus position. Her arms go out to demi-second as she does the glissade, back down then up through fifth for the pas de chat, and when she comes into b plus, one arm is directly in front of her making a curve. The elbow is the lowest point of the curve, so the hand and fingers are pointing up, like the opposite of what an arm would be like in second. The other arm is in the same position, but extended to the side.
0:00 – On stage left, Puck enters at the same time as Titania. Puck enters by a glissade into a step that I can’t remember the name of.
Argh. I’m really sorry, but I don’t know the name. It starts out like a pas de chat. The first leg goes up into passé, and then the second leg follows. The difference is that the first leg that goes up extends straight a la seconde once the second leg has come up, and then you land in fifth. I’ll try to find the name. Any Puck doest that; for the glissade her arms are in first, and then for the unnamed step, on arm is in second and the other is with her hand on her shoulder.
0:04 – On the second little bit of music, the Head Fairy and the Changeling enter. The Head Fairy should go upstage of Titania, and the Changeling upstage. They both enter by doing glissade then pas de chat into fifth position. For the glissade arms in second, then for the pas de chat, and down and through first into second position. When the arms go down and through to second, it should be like they are presenting themselves to Titania.
0:04 – Meanwhile, Oberon comes out on the next little bit of music on stage left to join Puck. He takes two steps backwards out of the wing as a preparation for a tour jete. He should land the tour jete in a lunge with arms in second.
0:07 – The dragon flies and the three other fairies join Titania. The dragonflies should go directly behind the Head Fairy and the changling, and the other three fairies should for a semicircle shape, so that basically they are enclosing the area to the side and behind Titania. There are 7 counts for them to come on. For 1, 2, 3, and 4, they do small sauté arabesques. Their arms move so that they always are in a first arabesque sauté. On five they do an attitude turn with arms in third position. On six, the attitude extends into an arabesque, and the fifth high arm extends to a diagonal, while the a la second arm extends straight to the side. On the seventh count, they lower to b plus (reverence position), and bring their arms to demi second. Meanwhile, Puck and Oberon converse, nothing really specific, just pantomiming as if they are speaking to each other.
0:14 – Titania and Oberon acknowledge each other. Titania waves happily, than turns to her fairies in confusion because Oberon is not waving back. She does this twice, once with each little bit of music. Meanwhile Oberon points out the changeling to Puck. He should seem very curious.
0:23 – Titania and Oberon exchange this conversation through mime. I wasn’t really sure if you’re supposed to choreograph mime. Here’s the mime Marian put in the outline.
Oberon: Titania!! What is that?
Titania: My changeling.
Oberon: Give it to me!
Titania: No!!
Oberon: I get what I want, give her here!
Titania: No!
Oberon: I am fairy king, I command you to give her to me!
Titania: Absolutely not!!!
0:34 – Oberon sends Puck to get the changeling. Puck does at first arabesque sauté into a balance en tourne; then a glissade into a saut de chat. The first arabesque sauté has first arabesque arms, for the balance one arm is in first and the other in fifth, then the saut de chat has Ceccheti third arms.
0:41 – Titania sends the Head Fairy to get the changeling back. The Head Fairy takes two parallel steps forward, does a releve, then a glissade and a saut de chat with ceccheti third arms. For the two parallel steps and the releve, the fairy’s torso should be twisted so her hips are facing decote (the side, I can’t spell in French…), but her torso is to the audience. One arm is extended straight in front of her, then the other arm is extended straight in back of her. She grabs the changeling by her hand, and goes back to Titania. She does a sauté in first arabesque with her free arm in first arabesque, then a sauté in passé with her free arm in first. She runs back to Titania after the two sautés.
0:48 – Oberon sends Puck back again. Puck does a pique arabesque into a big tour jete, as it trying to scare Titania away. Puck grabs the changling and runs back to Oberon.
0:55 – Titania sends the Lead Fairy along with Peaseblossom, Moth, and Mustardseed. The four fairies form a diamond with the Lead Fairy in the front. They do four counts of chaine turns, the glissade into a big saut de chat, like an attempt to frighten Oberon and Puck. Arms in first for the glissade, fifth for the saut de chat. The Lead Fairy grabs the changling, and she runs back to Titania. The other fairies do four counts of chaines; then run back to Titania.
1:01 – Yet again, Puck goes back. Puck makes a run for it, no steps, just running, and is back to Oberon by 1:05.
1: 01 – Titania sends the fairies, who form a square to go across. They do pique first arabesque to the corner into a faeae (sp), then bring there back leg around to do a pique first arabesque faeae to the other corner. Then they do 4 (Ok, I have no idea how to spell this, so this is going to be horribly wrong) paulmarches (sp???). Since you probably can even guess what I’m trying to say, it’s when you extend one leg, step onto releve bring the other leg into cou de pie back, then extend the cou de pie leg to the front and the releve leg is in a plie. After the four paulmarches, the fairies courrou (sp??) to Puck and Oberon, stopping after 8 counts when they reach them. The three regular fairies (not the lead) each do a soutenou. Peaseblossom goes on 1, Moth on 2, and Mustardseed on 3, and they all run back to Titania. The Lead Fairy follows with the changeling.
1:14 – I don’t have any actual choreography for this part, just the pantomime Marian posted. Oberon roars in rage, and shoves Puck towards Titania at 1:14, but Titania and the other Fairies shove her back at 1:18. Oberon shoves her again at 1:21. The fairies shove again at 1:25. Puck stumbles back, but Oberon doesn’t catch her. She falls hard to the ground at 1:28. (Puck makes an insulted face directly at the audience, as though she’s talking to them)
1:28 – Titania motions for the fairies to leave. They walk across the stage in the position I described before. Hips facing decote, torso twisted to the front. One arm is extended to the front, one to the back. The should look very haughty. Titania clutches the changeling, who should appear worried and frightened.
1:41 – In the outline it said “Through mime, the audience can see they’re plotting something with sleeping potions, and twisted loves. Oberon and Puck both look very evil here.” I didn’t know if I was supposed to write specific movements, but I’m not really sure what to write.
1:58 – Titania leaves by crossing to stage left and exiting. She does sauté first arabesque, glissade, saut de chat with arms fifth high.
2:03 – Oberon leaves by crossing to stage right and exiting. He does three sauté first arabesques. His arms change so that he is always in a first arabesque position.
