Within Her Eyes: Performance environment (proscenium arch, end stage, in-the-round, site sensitive)

Within Her Eyes: Performance environment (proscenium arch, end stage, in-the-round, site sensitive)

Performance Environment

  • Within Her Eyes is a site-sensitive performance filmed in a variety of locations including an open field, a forest and a beach.
  • The dancers interact with the environment; for example, dancing on rough and uneven terrain challenges the performers and contributes to the intense emotional narrative.

Proscenium Arch, End Stage, and In-the-Round

  • Although Within Her Eyes is filmed on location, the principles of proscenium arch, end stage and in-the-round staging can still apply to dance for camera.
  • Proscenium Arch: James Cousins effectively frames the action within the camera’s view as would be seen in traditional proscenium arch staging.
  • End Stage: The camera’s perspective often creates an end stage format, with the dancers performing facing one direction towards the camera.
  • In-the-Round: The dance sometimes appears to be staged in-the-round due to the camera angles and movements.
  • Understanding these terms and how they can be applied to dance for camera is crucial for appreciating the choreographic choices and use of space in Within Her Eyes.


  • Site-sensitive means the choreography is designed with a specific location in mind and attempts to utilize the unique features of that location.
  • In Within Her Eyes, both the vast open landscapes and claustrophobic forest scenes influence the movement and feeling of the piece.
  • The choreography reflects the surroundings; for example, the dancers appear trapped and tangled in the forest, then liberated but vulnerable in the open fields.
  • The constant shift in locations throughout the piece contributes to the sense of disorientation and unresolved tension.

Remember that performance environment in Within Her Eyes is integral to the piece’s overall meaning and emotional impact. The dance uses a site-sensitive approach to bring the landscape into the choreography, often making the location an ‘additional dancer’ in the piece. The principles of Proscenium Arch, End Stage and In-the-Round staging can be discussed in relation to the camera’s perspective and how it frames the action.