Aural Accompaniment can play a major role in depicting the storyline of a contemporary work. Both 2 in D Minor and L’chaim were sections which adequately used aural accompaniment to enhance their performance. 2 in D Minor’s incorporation of typical instrumental accompaniment helped draw upon the raw emotions of the dancers and viewers and allowed the dancers to speak through their movements in the music. this created a much more sensitive and fragile topic to approach in comparison to Obarzanek’s section. Oberarzanek’s choreography L’chaim however deals with a much more original concept where the raw incorporation of speech is used as an aural accompaniment for movements. The use of personal and demanding questions in the voiceover created slight humor to the piece of work and allowed the audience to gather a closer insight into the personal lives of the dancers responding to the questions. Whilst sections of this routine was purely choreographed to breathing and in some cases sound effects and traditional folk songs, the tempo of the movements was much faster and depicted much more lively emotions which were not so much displayed in Bonachela’s work.
The use of lighting and props comes under the topic of setting and environment. The use of Lightinging within these two pieces differed greatly. Bonachela’s piece focused more on softer lighting which highlighted the solo artists and and the softer flow of contempoary movements. The dancers were conformed by the square
