http://www.nationalgallery.org.uk/whats-on/exhibitions/metamorphosis-titian-2012-ballets
The next section at 1:40s consists of a trio, two males and a female dancer. Throughout the dance the female dancer is assisted in jumps and lifts and is thrown across from both the male dancers. The female appears to be the main focus and is always in contact with one of the males if not both, this suggests that she is the more dominant role. Overall this dance is very energetic, this comes across by the dynamics of the movements being quite fast, the energy comes across as well when the female dancer is being thrown quite high. At the begining of the section there is very little solo for the female dancer, and there is balancing from the two males and the female on the other side such as the throw at 1:41 with the females awkwardly angled legs into the carry and side-lunge, into another awkward double bent-knee jump so that this makes the shapes of the legs sharper to make it seem more dangerous than previous scene as well as in keeping of the energy. One of the males carries the female from one side to the side of the stage to the other and instead of being carried by her torso and a straight leg, she is being carried by a bent leg whilst pointing a leg out into a ronde de jambe which is similar to the limb of the robot moving in a salutation motion, the male dancer places her foot on the ground with her facing to the floor, which is also similar to the focus of the robot looking down. The female dancer is assisted much throughout the dance is carried around by both males horizontally as if she were on a side-crucifix which makes her look either submissive or that she is god-like and is draped whilst being worshipped.
This is followed by the next vertical hold with her arms held high which uses levels to show status and shows that she is the more dominant one even though she is more fragile than the two men. Through this section the female has her legs next to each other and her arms out as if reflecting the 3 legs of the robot on its tripod base. The female is being taken from one physical level to another which shows the rise and fall of the power of Diana in the way that she is exposed when Acetaeon finds her.
The next part is of a male dancer carrying the female in a double-stag position and her leaning out whilst being spun around, at the same time another male dancer is doing a form of spin with his leg bent and arms curved which keeps the similar to the jaggedness of the females legs. This is a rare point when all dancers are in unison even though at different speeds. This leads into a series of lifts, which get slightly higher each time; the solo male runs towards the other two which shows the urgency as if Diana is not allowed to touch the floor herself which could suggest the God-status.
The solo section of one of the males involves running around the stage which shows the agility of the hunter Acetaeon. The movements are short and fast which shows the attack and strength of the movement and the dancer. The costume of this male is the same throughout Machina, and is shirtless with only leggings which shows off the muscles of the dancer. This dance also carries on with the awkward angles and positions such as at 2:17s there is an inward turn with the arms at the opposite hip. The robot Diana in this has no light, which essentially shows the vulnerability of this role and makes the male dancer more dominant which is shown in his strong-attacked and sharp moves. At 2:20 the dancer reaches above and exposes his core area which shows the vulnerability Diana still has over him.
This piece uses circular and 'slinky' like movements which kind of shows snake-like nature (2:20) of Acetaeon in how he suddenly crept into the place where Diana and her nymphs are, it also shows the movement of the curtain being drawn back. After this part it continues to show the attack and how dominant the male character is by his arms spread out and looks like a bird of prey; this is also shown with a jump that seems intimidating and prey-stalking like at 2:29/30. It also continues the isolation in the very first section and the jaunty angles of the second section at 2:27 and the many chenee turns of the first section for the ending of this part and another bird-esque pose at the end. This section shows the power and dominance of the character of Acetaeon.
The next section at 2:30, is a duo which takes a more romantic side to the Greek story based in Titians painting. It covers the hidden/invisible sexual tension that Acetaeon and Diana, what makes it more intimate is that there are only two dancers which have each others attention rather than the previous trio which made it difficult to establish which was the more dominant male. The begining of this section shows both dancers, rather than the male presenting the female in various lifts. This show
s off the males strength in the way that the dancers are flowing and controlled movements as well as being able to hold the female dancer at difficult angles (2;47-9). These lifts also shows the trust between the dancers in the lifts especially of the female to the male. This also continues the sharp knee-angles seen in the previous trio. At 2:53 it shows the dancers facing each other, and only the palm of their hands touching which ironically emphasises the sensual and sexual tension by having the least amount of bodily contact, the next part shows a kind of melting motion which adds to the sensualness and the male slowly lowers the female which shows that she is at the more vulnerable. This part also resembles the movement of the robot and how there are different joints of the robots limbs. It also continues the likeness of the robots limbs in how the female has her legs out and pointed in the lifts that she does with the male. The next part shows different diagnals via the use of the females legs which also links to the limbs of the robot and the tripod base. It also relates to the composition of the painting and how the diagnals are between Diana and Acetaeon and the curtain to the nymphs. After 3:10 there is a serious of body ripples/waves which could connotate the movement of the brush marks made by Titian in the painting which can also be seen in the series of the turns and lifts that end this section.
The next section at 1:40s consists of a trio, two males and a female dancer. Throughout the dance the female dancer is assisted in jumps and lifts and is thrown across from both the male dancers. The female appears to be the main focus and is always in contact with one of the males if not both, this suggests that she is the more dominant role. Overall this dance is very energetic, this comes across by the dynamics of the movements being quite fast, the energy comes across as well when the female dancer is being thrown quite high. At the begining of the section there is very little solo for the female dancer, and there is balancing from the two males and the female on the other side such as the throw at 1:41 with the females awkwardly angled legs into the carry and side-lunge, into another awkward double bent-knee jump so that this makes the shapes of the legs sharper to make it seem more dangerous than previous scene as well as in keeping of the energy. One of the males carries the female from one side to the side of the stage to the other and instead of being carried by her torso and a straight leg, she is being carried by a bent leg whilst pointing a leg out into a ronde de jambe which is similar to the limb of the robot moving in a salutation motion, the male dancer places her foot on the ground with her facing to the floor, which is also similar to the focus of the robot looking down. The female dancer is assisted much throughout the dance is carried around by both males horizontally as if she were on a side-crucifix which makes her look either submissive or that she is god-like and is draped whilst being worshipped.
This is followed by the next vertical hold with her arms held high which uses levels to show status and shows that she is the more dominant one even though she is more fragile than the two men. Through this section the female has her legs next to each other and her arms out as if reflecting the 3 legs of the robot on its tripod base. The female is being taken from one physical level to another which shows the rise and fall of the power of Diana in the way that she is exposed when Acetaeon finds her. 
The next part is of a male dancer carrying the female in a double-stag position and her leaning out whilst being spun around, at the same time another male dancer is doing a form of spin with his leg bent and arms curved which keeps the similar to the jaggedness of the females legs. This is a rare point when all dancers are in unison even though at different speeds. This leads into a series of lifts, which get slightly higher each time; the solo male runs towards the other two which shows the urgency as if Diana is not allowed to touch the floor herself which could suggest the God-status. 
The solo section of one of the males involves running around the stage which shows the agility of the hunter Acetaeon. The movements are short and fast which shows the attack and strength of the movement and the dancer. The costume of this male is the same throughout Machina, and is shirtless with only leggings which shows off the muscles of the dancer. This dance also carries on with the awkward angles and positions such as at 2:17s there is an inward turn with the arms at the opposite hip. The robot Diana in this has no light, which essentially shows the vulnerability of this role and makes the male dancer more dominant which is shown in his strong-attacked and sharp moves. At 2:20 the dancer reaches above and exposes his core area which shows the vulnerability Diana still has over him. 
This piece uses circular and 'slinky' like movements which kind of shows snake-like nature (2:20) of Acetaeon in how he suddenly crept into the place where Diana and her nymphs are, it also shows the movement of the curtain being drawn back. After this part it continues to show the attack and how dominant the male character is by his arms spread out and looks like a bird of prey; this is also shown with a jump that seems intimidating and prey-stalking like at 2:29/30. It also continues the isolation in the very first section and the jaunty angles of the second section at 2:27 and the many chenee turns of the first section for the ending of this part and another bird-esque pose at the end. This section shows the power and dominance of the character of Acetaeon. 
The next section at 2:30, is a duo which takes a more romantic side to the Greek story based in Titians painting. It covers the hidden/invisible sexual tension that Acetaeon and Diana, what makes it more intimate is that there are only two dancers which have each others attention rather than the previous trio which made it difficult to establish which was the more dominant male. The begining of this section shows both dancers, rather than the male presenting the female in various lifts. This show
s off the males strength in the way that the dancers are flowing and controlled movements as well as being able to hold the female dancer at difficult angles (2;47-9). These lifts also shows the trust between the dancers in the lifts especially of the female to the male. This also continues the sharp knee-angles seen in the previous trio. At 2:53 it shows the dancers facing each other, and only the palm of their hands touching which ironically emphasises the sensual and sexual tension by having the least amount of bodily contact, the next part shows a kind of melting motion which adds to the sensualness and the male slowly lowers the female which shows that she is at the more vulnerable. This part also resembles the movement of the robot and how there are different joints of the robots limbs. It also continues the likeness of the robots limbs in how the female has her legs out and pointed in the lifts that she does with the male. The next part shows different diagnals via the use of the females legs which also links to the limbs of the robot and the tripod base. It also relates to the composition of the painting and how the diagnals are between Diana and Acetaeon and the curtain to the nymphs. After 3:10 there is a serious of body ripples/waves which could connotate the movement of the brush marks made by Titian in the painting which can also be seen in the series of the turns and lifts that end this section.
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