Creating, Performing, and Responding to Dance

Sources choreographers can consult to help generate choreography:

visual art, architecture, and design

music

literature, history, religion, mythology, folklore, and fantasy

human behavior + interaction, cultural phenomena

psychological or emotional states

patterns in nature and movement phenomena

creating dance when there is no specific subject in mind

choreographer uses improv to eventually come up with a theme

all choreography essentially begins with ___

improvisation

contact improvisation

requires partners to distribute their collective weight to achieve, maintain, or transition through shapes and movements. This form allows partners to use each other as a support, ballast, launchpad, mat, ladder, blanket, etc.

T/F: Intention does not always precede movement.

True

T/F: movement predated language as a means of communication

True

During the initial stage of creating choreography, however, the gaze should be “turned ___,” toward the creative impulse, rather than focused ____ on how a movement looks.

inward'; outward

T/F: One main choreographic rule of thumb is that solid, effective movement comes from “doing,” not from “seeing.”

True;

effective movement is movement that imparts a feeling of organic agreement with its intention and works well with the dancer performing it.

Intention is found in the overarching ___ for the dance, and in each _____.

aspiration; movement

The degree to which movement intention is successfully conveyed is influenced by the partnership between the ____ and the ____.

choreographer; dancer

Expression

the dancer’s ability to convey movement intention through movements and facial gestures

TRANSLATING AN IDEA INTO A FULLY CRAFTED CHOREOGRAPHIC WORK

• The chosen idea for a dance must be able to be expressed through physical actions. Some themes are too grand, abstract, or complex to be expressed through movement.

• The choreographer must present a particular perspective on the idea, rather than simply presenting it in its original form. All artists have something to say about their chosen subject, or they wouldn’t have chosen it in the first place.

• A sufficient degree of choreographic craft must be imposed on the idea to save it from appearing half-baked, sentimental, or self-indulgent. It’s important to keep in mind, however, that there are no guarantees this won’t happen anyway.

Choreographers need to secure legal rights to use a musical piece for

any professional performance outside a class or school recital

Task-oriented improvisational group exercises offer an excellent way for students to practice and develop the skills of ___, ___, ___, and ___.

critical thinking, creative problem solving, cooperation, and self-discipline

“score” in improv

a collection of defining boundaries or instructions to shape and direct the movement

11 elements of choreography

1. space

2. time

3. energy

4. pattern

5. dynamics

6. phrasing

7. musicality

8. expression

9. intention

10. context

11. structure/forming

space

This is the physical environment in which a dance is performed

time

This is the temporal structure within which a dance is performed

energy

This is the type and the amount of force applied to movement

pattern

Pattern refers to the recognizable, often repeated sequences in the space, time, and structure of a dance

dynamics

This is the interaction of the force, duration, and intention applied to movement, which results in a particular impression

phrasing

This is the time emphasis given to or withheld from certain movements within a phrase

musicality

This is a kinetic response to the rhythm, phrasing, and dynamics of music, which is expressed in the dance style

expression

This is the ability to communicate feelings, mental states, and more through both body gestures and facial expressions

intention

This is the idea or impression that a choreographer wishes to communicate with a movement

context

This is the atmosphere (political, cultural, historical, etc.) within which a dance is being presented

structure/forming

This is the way in which elements of movement are arranged into sequences, phrases, combinations, and dances

3 directions in space

forward movement

backward movement

lateral movement

forward movement communicates ___

assertiveness

backward movement communicates

retreat

lateral movement communicates

concealment

pattern is most apparent in the elements of ___, ___, and ___

space

time

structure

pattern in terms of space is known as

design

(encompasses: shape, kinesphere, spatial path, level, direction, floor path, facing, etc)

pattern in terms of time is known as

rhythm

(pattern of accented and unaccented beats that repeat to create meter)

pattern in terms of structure (forming) is known as

sequencing and order of movements, phrases, and combinations

(often mirror rhythms)

ASPECTS OF TIME THAT ARE COMMONLY MANIPULATED TO DEVELOP CHOREOGRAPHY

• tempo

• momentum

• duration

• rhythm/accent/meter

• stillness

tempo

Tempo is the speed of a movement or a movement sequence. It can be sped up to create intensity or excitement, and slowed down to impart languor or reluctance

momentum

Momentum the consistent increasing of tempo; it has a connection with energy (energy increases as the tempo speeds up, and decreases as it slows down)

duration

Duration is the amount of time a movement takes, from its initiation to its completion. Duration of inaction is the amount of time between ending one movement and beginning another

rhythm/accent/meter

Rhythm is a repeating pattern of beats, whether strong/stressed or weak/unstressed. Rhythmic patterns are combinations of weak and strong beats. Accents are beats with special emphasis placed upon them. Meter is the grouping of repeated, accented beats in a piece of music

stillness

Not only the absence of movement, stillness can also be understood as the absence of the flow of time

Choreographic devices used to develop, manipulate, and refine movement for choreographic composition include:

• motif and development

• repetition

• fragmentation

• incorporation

• accumulation

• augmentation/diminution

• tempo acceleration/deceleration

• rhythm

• action/reaction

• retrograde

• unison

• canon

• instrumentatino

• inversion/lateral shift

• quality

• level

• staging

• combination

motif and development

Basic movements or short sequences are manipulated to create new but related movements.

fragmentation

Part of a movement is performed.

incorporation

A movement is made part of another movement

accumulation

More is added to the original movement

augmentation/diminution

The size of the movement is increased or decreased

tempo acceleration/deceleration

The movement is speeded up or slowed down

rhythm (in choreography)

The rhythmic pattern (not the speed) of the movement is varied.

action/reaction

The original movement is the question, and the new movement is the answer.

retrograde

The movement is performed backwards

unison

Multiple performers perform the movement in the same way at the same time.

canon

Multiple performers perform a movement in succession (contagion)

instrumentation

The movement is performed using a different body part.

inversion/lateral shift

The movement is performed upside down or using the other side of the body.

staging (in choreo)

The facing, direction, location, or floor pattern of the movement is changed.

AB structure

is a theme followed by a different theme. Although the two themes are different, they share a common element that serves to highlight their dissimilarities. A deliberate transition is beneficial for connecting Theme A to Theme B.

ABA form (sometimes written as ABA’)

is similar to AB but returns to the first theme after finishing the second. Often, Theme A is repeated in a condensed or abbreviated form, which emphasizes the differences between the original two themes.

Rondo

also makes use of the AB idea, but incorporates more themes in an ABACADA form, introducing more movement to contrast with the original theme. As with Theme B, each additional theme must have something in common with Theme A, as Theme A is referred to before each new theme is introduced. All of these forms are also used to organize structures in music.

reverting canon

each dancer performing the entire phrase from beginning to end, but beginning at different times. These can be overlapping (one dancer begins before the previous one ends) or non-overlapping (each dancer waits for the previous one to finish before starting)

round canon

reverting and overlapping

simultaneous canon

all performers begin at the same time, but at different starting points within the same phrase

cumulative canon

dancers begin at different points in a phrase, “fall into step” as the phrase progresses, and end in unison

One useful rule concerning accompaniment is to roughly correlate the number of sound producers (human voices, instruments, car horns in pre-recorded traffic, etc.) to the number of

performers on stage

melody

This is a succession of tones set to a particular rhythm that serves as the “voice” in music.

rhythm (music)

This is a repeating pattern of stressed and unstressed beats in a piece of music. Rhythm can exist cooperatively with or independently of melody.

meter

This is a repeated grouping of accented beats

tempo

This is the speed at which music is played. Interplay between the respective tempos of movement and music is a powerful choreographic device.

dynamics (music)

Defined specifically as the volume at which musical notes are played, dynamics also refers to the energy behind the playing and the varied time across which the music is played. In this way, dynamics in music are similar to dynamics in dance. Both give pieces variety and personality

4/4 time signature

also known as “common time,” gets four beats per measure.

Two measures equal a dancer’s 8-count.

2/2 time signature

also known as “cut time,” as it cuts common time in half.

There are two beats per measure, and 4 measures equal a dancer’s 8-count.

3/4 time signature

“waltz time,” is characterized by a strong-weak-weak beat pattern that reflects the down-up-up dance steps of a waltz. Two measures equal an 8-count.

Meter signatures (also called “time signatures”) are written in music notation as a

fraction

The denominator (bottom number) of a meter signature is the

unit of measurement; basic beat that make up the rhythm

the numerator (top #) of a meter signature is the

number of beats that make up one measure

Most Western music is based on an ___ number of beats

even

(think 8 count)

ballet closely reflects the rhythms of the ____ music

western classical (symphonic)

dynamics

a product of the interaction of force, time, and intention of movement

Phrasing

A dancer can vary the time element while performing a movement phrase, performing some movements over a longer period of time and some over a shorter period of time.

Musicality

phrasing in which the dancer visibly responds to the rhythm and dynamics of music.

___ and ___ support the choreographers intention for movement

phrasing ; musicality

gestures

culturally meaningful movements of the limbs and head to express specific thoughts

2 major ways to communicate mood and intention in a dance

gestures and facial expression

Dynamics

the combinations of space, time, weight, flow, and effort

the stage manager

the person in charge, and is responsible for ensuring all technical aspects of a production are executed properly. The stage manager knows the dance thoroughly; coordinates all schedules to arrange rehearsals and work sessions; ensures safety; facilitates communication between dancers, designers, and tech crews; communicates with the house manager during performances; and calls the cues to performers and sound, light, and video technicians during performances.

stagehands

prepare the performance space as needed. This might include loading equipment, constructing and moving scenery, hanging lights or speakers, manipulating props, or clearing and cleaning the stage and backstage areas.

the house manager

looks after ticket reservations and sales (by telephone, in person, and online). The house manager also maintains the press and “comp” lists for free seating, distributes programs, and looks after accounting tasks such as collecting receipts (these might be for cash, check, credit card, or online transactions). The house and stage managers coordinate the start time of each show.

lighting creates

mood / ambiance

Lighting designer

assists the choreographer artistically and logistically in designing, engineering, and implementing an appropriate lighting plot. The lighting designer also coordinates with the technical manager of the production facility during production. Because lighting is a specialized craft, designers in this field have great creative freedom in shaping the design of the dance.

After becoming familiar with the dance, the lighting designer creates a lighting plot on paper, communicates it to the lighting/electrical crew, and oversees the hanging, wiring, placement, and focusing of instruments (lights). Once the general plot is in place, the lighting designer attends rehearsals to adjust the placement of lights based on the choreography and costumes. The lighting designer will also codify cues for changes in lighting. Once the final plot is agreed upon, the lighting designer creates a cue sheet and communicates it to the lighting techs working the board.

Sound designer

The sound designer (who is often also the musical director) assists the choreographer in selecting, acquiring, formatting, and transmitting a dance’s sound or musical accompaniment. Choreographers often work with music from the beginning of their process, and have definite requirements for accompaniment. Nonetheless, sound designers contribute a great deal of creative input.

Sound designers provide rehearsal music, secure usage rights, and handle sound equipment needs, coordinating with the facility technical manager during production. If there will be live music, the sound designer is also responsible for meeting musicians’ needs. This may involve scheduling auditions and rehearsals, addressing union requirements, and procuring sheet music and equipment. If the music will be pre-recorded, the sound designer creates and oversees sound media (CDs/mp3s, etc.). The sound designer also creates music cue sheets, distributes music cue sheets to the sound tech crew, and oversees the crew during production.

Video designer

The video designer assists the choreographer with all matters related to video projection used during a dance. In addition to providing creative input to support and develop the vision of the choreographer, the video designer has numerous logistical responsibilities: familiarizing himself or herself with the dance, procuring necessary video (whether it is from an existing source or new footage is needed), acquiring and formatting media, and compiling, processing, and editing footage into its final format.

The video designer also coordinates early on with the performance venue’s technical manager to determine theater dimensions, projector locations, obstructions, video equipment needs, and other technical considerations. During production, the video designer attends rehearsals to coordinate video with lighting, sound, costumes, and choreography, and then designs a cue sheet and communicates it to all necessary personnel.

Costumer

The costumer attends all necessary meetings and rehearsals, familiarizing himself or herself with the dance and collaborating with the choreographer in order to design the costumes. Costume designers are usually granted a decent amount of artistic license in developing costumes. They typically expand upon the choreographer’s ideas rather than simply execute them as presented. The task of costume design is often separate from costume construction. Because of its time-consuming nature, costume construction is almost always delegated to a crew of costuming assistants.

Ideally, costumers (or their crew) will take dancers’ measurements; sew mockups for approval by the choreographer; schedule fittings; buy and prepare material and supplies; cut patterns; and sew, fit, alter, and repair costumes.

During the performance, the costumer (if part of the wardrobe crew) will transport the costumes and check them in and out. The costumer will also repair, launder, store, and safeguard the costumes between performances.

spacing rehearsals

allow the dancers to become accustomed to the dimensions and particular features of the performance space. They may also be useful for lighting designers, as they can help designers figure out how to focus the lights onstage.

cue-to-cue rehearsals

held for the benefit of the stage and technical crews. They allow crew members to familiarize themselves with technical cues. These often do not involve any performance of movement, but require dancers to “stand in” at each spot where cues for music, lights, video, or stage direction change.

dress rehearsals

combine all of a show’s production elements—costumes, sound, lighting, video, sets, props—into a run-through that looks as much like the actual performance as possible. These usually happen immediately before a performance.

Studying the significance of the cultural and historical context of dances helps students comprehend ___ and ___.

the universality and commonalities of the art form, and to increase their awareness and appreciation of various heritages and traditions

Description

Describing anything can help a viewer further understand what he or she saw. By paying attention to, and later describing, a dance’s movements and images, audience members can enhance their conception and appreciation of it.

4 methods to understanding dance

description

interpretation

appreciation

evaluation

Interpretation

The choreographer’s objective is to express intentions through movement, without words. This leaves room for audience interpretation. Audiences can imagine and speculate about a choreographer’s intentions, and can draw their own conclusions about meanings.

appreciation

Dance audiences can deepen their experiences by noting which aspects interested them or made them feel something, whether it was emotion, intellectual curiosity, or a physical sensation.