By Jacqueline M. Smith-Autard
Dance composition – the self-discipline that interprets principles into dances – is a crucial a part of dance schooling. This publication, a bestseller for over 20 years, is a pragmatic advisor to inventive good fortune in dance making and is a well-liked textbook for all those people who are drawn to dance composition, from secondary university to university. This re-creation encompasses a DVD with video taken from Choreographic results, a groundbreaking complicated know-how source pack geared toward comprehensively bettering scholars' choreography. The publication has been revised, redesigned and accelerated. connection with the DVD examples are made during the ebook and new assignments in response to the video fabric are integrated.
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Additional info for Dance Composition: A Practical Guide to Creative Success in Dance Making (Performance Books)
And its style, form and character. The experimentation with movement is confined to that which is suitable for interpretation of the music, and this kind of improvisation – although more limited – is commonly used as a starting point for composition. The beginnings of composition stimulus | decision on type of dance | decision on mode of presentation: representational or symbolic | improvisation | evaluation of improvisation | selection and reﬁnement | motif Improvisation is spontaneous, transient creation – it is not fixed, it is not formed.
The dance is abstract when it is the result of abstraction, which is: . . something that comprises or concentrates in itself the essential qualities of a larger thing or several things. Webster’s Dictionary (1966) Like the ‘shape’ dance, a dance entitled ‘magnetism’, or a dance entitled ‘time’, which portrays a variety of images based upon the phenomenal and human aspects of the concept, could be examples of concentration on a ‘larger thing’, whereas a dance entitled ‘conformity’, which portrays images of following in step pattern, imitating mannerisms, waiting one’s turn in a queue, might be an example of concentration upon the essential quality of ‘conformity’ in several otherwise unrelated things.
Motif, development and variation Once the composer has established how many dancers to use and how to group and place them, they then have to decide how to orchestrate the movement content for the group. A motif may be established by the whole group in unison which then needs repetition and development so that its meaning becomes clear. The same possibilities of repetition through development and variation of the motifs exist for the group dance and for the solo (see Table 3 overleaf). Also, an important feature of duo or group composition is the possibility of presenting developments and variations of the movement content at the same moment in time.