Christopher Bruce began his career as an impressive dancer, but as a choreographer he is nothing less that passionate and humane. He enjoys making people feel something and people come to theatres to see just that and his ability to fuse contemporary technique with an important relationship to ballet. Being greatly inspired by humanity, Bruce deliberately incorporates issues in society into his pieces and as a part of his choreographic style, through use of historical references and reflection, which are placed into a context that would interest and involve a current audience.

He recognizes that ballet is an important part of dance, but tries to break down the barriers between contemporary and ballet in his choreography. His motto is that 99% is technique and 1% is inspiration and with this ideal he begins to choreograph his pieces. Versatility is very important for his dancers to have in achieving the best results to suite his choreography.

In his early works there was a deliberate decision to avoid expression and music was not added till after he had completed the choreography. Unlike these pieces which are socially and

A general rule throughout his choreography, and in many other of his works is that he doesn't use facial expressions or balletic projection to get across his ideas, instead he will use the collaboration of the motifs, references and complimentary relationship with the music and movements to demonstrate the mood and atmosphere as well as his dedication to portraying issues.

His use of other dance forms such as folk dance, courtship rituals and pop dance are recurrent throughout Rooster and also very deliberate and plentiful in other works such as Ghost Dances and Sergeant Early's Dream.

Although there is a large range of dynamic and meaningful complexity in each song or separate piece, Bruce neatly ties them together in the end to conclude his initial and final inspirational idea of the sixties era.

functional relationship. Each song is separate but work together dynamically in building the sixties atmosphere and theme. The last piece, Playing with Fire combines segments from each song to summarise and comprise his underlying theme. The rooster motif, a strong symbolic feature is again highlighted and the piece finishes neatly with this tying together of separate movement motifs, beginning with the rooster, the Courtly gesture of the males bowing and unfolding their hands, the partner pop dancing and then a fast sequence of movement phrases from each song and finally ending with the male lead from Little Red Rooster striding across the stage and fixing his tie.

politically bound, Rooster was choreographed and approached in a different way in order to communicate his inspiration and the issues that would develop from this in his choreography. Although the style of movements in r

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