Looking at the tasks and strategies explored in this module, discuss the difference between choreographing for a solo compared to a group piece. Take into consideration theories and practices from current and past choreographers as well as your own experiences.
“When collaboratively choreographing a group piece I found chance methods a more effective tool to use, than when producing a solo.” Reasoning for this is that when choreographing solo chance strategies could only determine what dynamics and movements are used within the piece. However I found that by incorporating chance into the structure of group choreography, It gave me the opportunity to include an additional layer. By rolling a dice I could insert choreographic devices such as cannon,
…show more content…
In my opinion it “prevents the performance from looking over crowed while also encouraging the choreographer to use the space effectively.”Although I would like to experiment with the idea within solo chorography by replacing the soloist, it is clear that this strategy is most effective within group choreography
States “There is a big difference between doing group choreography” and continues to say that group work “extends ideas beyond what a soloist can do” I coinside with this as when I am choreographing a solo occasionally I become restricted with the movements available to me as I feel that they are not always impactive enough to translate my intention.
This leads on to contact work as it is expands the movement vocabulary, the dancers can go higher for longer and counteract each other’s weight. Making it very different to solo work when there is only one body and gravity to work with. These extra aspects became a challenge to incorporate smoothly into group choreography as it was something I didn’t experience when choreographing a solo. In spite of that I felt that adding in contact gave the choreography a surprising
As a society, we are constantly pairing things together in hopes of enhancing them: apple pie and ice cream, Indians and cowboys, and most relevant to this paper, music and dance. In an art form like ballet, it seems as though music and dance complement each other equally. Truly, it is hard to picture, or perform, a dance without music. However, this may not be the case for music, even if that music is composed specifically for a dance routine. The compilation of the music and the dancing from a scene in the American cowboy ballet Rodeo will be examined to ultimately help us understand they way in which they serve each other as a unit and their ability to function independently.
Dance is the universal language of the soul. Dance speaks of the truest inner feelings and life experiences of a dancer. Every dancer and/or choreographer will grow up to have a very distinctive style and set of unique techniques, dance values, and teaching methods to be followed. The dancer whom we will be analyzing in this paper is a pioneer of modern dance, Lester Horton. He was born on January 23rd, 1906 in Indianapolis, Indiana (Segal, 1998). He had moved to California to create dances and had developed a fresh and unique style of technique and choreography (Warren, 1977). He established the first permanent theater in America devoted to dance, and organized one of the first integrated modern dance companies (Yeoh, 2012).
One characteristic of technique that I noticed in most of the pieces performed was fast paced movement. Every piece was very upbeat and synchronized with the music. All their movements were done to the accents in the music. In “Too Many Cooks” all the movements were in sync with the sounds in the music. In “Mood Indigo,” there were three duets and they all showed different colors of indigo by how they dancers expressed their movements. The first duet was the color purple and they showed a couple in love and the movement was very quick. The second duet was the color light purple and the movement was very slow, this was the only piece where the movement was pretty slow. Since it was a lighter color they made the movement slower which fit the whole idea. In many of the other pieces they movement was fast as well.
Dance has evolved greatly throughout the centuries. It began with ballet and has led up to contact improvisation. This form of dance begun in the early 1970's and was started by a man named Steve Paxton and a group of postmodern dancers from New York City. Contact improvisation is a partnering form of dance and known as the art of moving spontaneously with a group or another person. This form of dance does not require the exact set of traditional skills of other dance form, it doesn’t have a technique that could be studied, and it is practiced in order to accomplish the highest potential. Contact improvisation came at a great time period, which of course was the 70's. The main historical events that were taking place then were the Watergate Scandal, the end of the Cold War, and the Vietnam War.
When we watch this performance, we have a hard time viewing this action as many singular musicians marching at one time. . If the band is moving together as one, gestalt psychologist would predict that the audience would see the band moving as one whole group due to the Law of Common Fate. This particular law is discussed by Michael Kubovy (2000). This gestalt principle of grouping describes how our eye-brain system organizes objects moving in the same direction as one. The unified movement of the band causes our brains to organize the band as a whole. Imagine for example a school of fish moving together in a body of water. When a person views this movement, few of people would report not perceiving individual fish swimming, but organize the group of fish as a whole entity. This is due primarily to their sharing of a common movement and destination. So, like the school of fish, if the members of the band are marching from one goal line to another, few people perceive it as a collection of individuals moving in one direction. They perceive the band’s movement as a
I considered myself a performer, and after years training as a classical ballerina I expanded into stunting and tumbling. While on tour, I developed friendships and bonds with dancers strengthened by a mutual love for dance, a commonality over the pain our bodies endured daily, and conversations on bruised and broken toes.
I had the pleasure of being in Western Kentucky University Dance Department’s concert, An Evening of Dance. The performance took place on April 29th through May 2nd in Russel Miller Theatre. It consisted of many works from faculty and guest artists. I felt like the concert was a success and that the choreography was all unique in its own way. I enjoyed the pieces that I performed, and the ones that my fellow company members were in. Through the analysis of “Petrichor”, I found that each production and chorographic element plays a large part in the successful outcome of a dance and emotional responses can be evoked by the simplest ideas.
... social dance. Many people in today’s society enjoy social; dancing. Chapter eleven dance concert, properly planning and establishing a dance concert is of the utmost importance. The partnership with the lighting designer usually takes priority over all other factors. One of the most important issues concerning customers has to do with mobility. The dancer must be able to move comfortably in the costume. The task of producing a dance concert is an overwhelming and tiring one. Chapter twelve dance in education and career in dance, many dance educators present the argument that teaching and learning dance as an art form is obviously absent from the American student education. There has always been and always will be people who have a love, desire, and passion to instruct and learn the art of dance, will ensure an important place for dance in higher education.
Theatre has heavily evolved over the past 100 years, particularly Musical Theatre- a subgenre of theatre in which the storyline is conveyed relying on songs and lyrics rather than dialogue. From its origination in Athens, musical theatre has spread across the world and is a popular form of entertainment today. This essay will discuss the evolution and change of musical theatre from 1980-2016, primarily focusing on Broadway (New York) and the West End (London). It will consider in depth, the time periods of: The 1980s: “Brit Hits”- the influence of European mega musicals, the 1990s: “The downfall of musicals”- what failed and what redeemed, and the 2000s/2010s: “The Resurgence of musicals”- including the rise of pop and movie musicals. Concluding
Through dance and movement, the storyline were expanded with the assistance of choreographer, Garth Fagan. A well-renowned choreographer...
Tracks ensures that the dancers involved are from a range of different cultural circumstances, this allows more diverse choreography, performances and audiences. McMicken describes the diverse environment, “If you just had one plant growing everywhere, its bland and not interesting, and not healthy… I often use [the] image that a healthy environment has maximum diversity in it”. This concept is parallel when regarding the education of cultural dance in schools, “maximum diversity builds respect and understanding” of traditions and beliefs.
What is improvisation? I understand this concept as creation without pre planning. To create something completely new and never seen before, just to respond to how you are feeling in the moment. I see improvisation, as a series of spontaneous movements that can just come trough your mind and body, in the moment something inspired you. I want to talk about this specific skill that we practice in class, because it makes me see dance with a very different perspective, and a wider view. It makes me reflect in how important is improvisation, how every specific dance step was in the past an improvisation step, invented by someone and that now is considered as “ordinary” or “aesthetic”. It is just amazing that when improvisation
Choreographers define dance as “telling a story without speaking”, “the language of the body”, “explaining your heart through movement”, and “is a unique passion that ca be fulfilling to its choreographers, dancers, and audience” (Senior Mastery Choreography Survey). The responses to the Senior Mastery Choreographer Survey proves that the stimulating and creating process of the choreography in the brain is the difficult aspect of this job, but when the visions are transferred to the dancers the results can be tremendous and sometimes breathtaking. The choreography can be created by the use of shapes, kinesthetic and scenic spacing, timing, and different tactics to leave a meaning to the audience. Choreography and dance have been a part of the arts for a myriad of years and will be for numerous more. It is an emotional entertainment that leaves the audience with a message and feelings towards a
“Dance, the art of precise, expressive, and graceful human movement, traditionally, but not necessarily, performed in accord with musical accompaniment. Dancing developed as a natural expression of united feeling and action.”
On the night of the DancePlus performance, I saw numerous little performances. There were six of them in total and the one I had most reactions and favors to is the last one of the first half, which is called Swampin. It was choreographed by John Evans with additional material by Oluwadamilare Ayoride, Jennifer Payan and surprisingly, the dancers. Usually what I would expect from a piece of dance performance is choreographers dominating the process of being creative on the grounds o f coming up dance moves. However, this time, it is nice to see how the dancer actually participating first hand in the creating process of the whole performance which would definitely benefit the quality of the dance, since the dancers would their own choreography