How do the ‘Strictly Come Dancing’ judges adapt their spoken language when at work?
Consider:
-The use of spoken language features and how these have been used to entertain
-Public attitudes and responses to the judges
Strictly facts:
11 series
11.5 million average viewing figures, more than X-Factor
Presenters: Bruce Forsyth and Tess Daly
Judges: Bruno Tonioli, Craig Revel-Horwood, Darcey Bussell, Len Goodman
http://www.youtube.com/watch?v=32EKZrK5ndM
http://www.youtube.com/watch?v=dbm6DWuMMww
Make notes on their paralinguistic idiosyncratic features and comment on why these work
Plan:
Introduction: Explain the format of the show, use the facts to support, introduce why the judges are so integral to the show’s success with the public and how spoken language makes them successful at their jobs. Explain what this essay will look at.
Len Goodman (head judge) study
Consider use of spoken language and idiosyncratic behaviour, and how it changes between the two dances. Comment on how the audience respond to what is being said
Darcey Bussell study
Consider use of spoken language and idiosyncratic behaviour, and how it changes between the two dances. Comment on how the audience respond to what is being said
Craig Revel-Horwood Study
Consider use of spoken language and idiosyncratic behaviour, and how it changes between the two dances. Comment on how the audience respond to what is being said
Bruno Tonioli
Consider use of spoken language and idiosyncratic behaviour, and how it changes between the two dances. Comment on how the audience respond to what is being said
Conclusion
Consider the question, comment on the relations between the judges and the show’s chemistry. Who is the best judge and why?
Transcript 1: Abbey Clancy and Aliajz’s Charleston feedback
Daly: Craig, has she done enough to get to Blackpool?
Revel-Horwood: I think she has, absolutely. That was (3) I love the stylisation. The enormous attention to detail was INCREDIBLE in that dance routine (.) I loved the singe pated hop, pull back slides that you did which are so difficult that fantastic troch and step at the end (.) You did not Charleston quietly thank goodness. It was loud, my darling and it (.) was (.) rowed
Daly: [to Abbey and Aljaz] you enjoyed that didn’t you? You enjoyed yourselves. Darcy, did you enjoy it?
Bussell: I just loved the gorgeously mad side of Abbey this is brilliant to show us this (.) I loved it (.) and it’s so unusual how what ease you did with that prop (.) to have a hat when you are not a performer and to be able to do all those things with that hat was brilliant and it was the leg action it was fast and furious and that monkey step at the end (.) great (.) I really enjoyed that because you got the hands in because it was very fast but (.) well done Aljaz you have made a true dancer out of Abbey
Daly: A true dancer. Has she come back fighting, Len?
Goodman: Well it was a Charleston (.) it was goin back to the twenties (1) Downton Abbey (2) Abbey and Aljaz I tell you what that is A A (.) and I tell you what you don’t need the AA (.) that didn’t break down at all (.) that was a beautiful journey and I tell you what (.) stay in that car (.) get up the M1 and I will see you next week in Blackpool
Daly: All the way to Blackpool (.) come on! Bruno?
Tonioli: Oh yes I couldn’t agree more. It was Abbey the IT girl with a HUGE HIT in her hands (.) you combine the elude of Louise Brookes and the vivacity of Liza Minnelli but what I really liked and Craig is absolutely right (.) it was a Charleston but it had a Bob Fosse influence (.) it
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