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Stanislavski believed actors needed to take emotion and personality to the stage and call upon it when playing their character. He also explored the use of objectives, actioning, and empathizing with the character. "Emotional recall" is the basis for Lee Strasberg's Method acting.

” — Konstantin Stanislavski. [38] Stanislavski's "Magic If" describes an ability to imagine oneself in a set of fictional circumstances and to envision the consequences of finding oneself facing that situation in terms of action.

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contemporary

kənˈtɛmp(ə)r(ər)i/

adjective

1. living or occurring at the same time.

2. "the event was recorded by a contemporary historian

DANCE MEANING:
Contemporary dance is a style of expressive dance that combines elements of several dance genres including modern, jazz, lyrical and classical ballet. Contemporary dancers strive to connect the mind and the body through fluid dance movements.

JAZZ DANCE:

Jazz dance is fast and fun. It uses upbeat music and leaps and turns to interpret traditional and not-so-traditional movements.

TAP DANCE:

a dance performed wearing shoes fitted with metal taps, characterized by rhythmical tapping of the toes and heels.

BALLET:

Ballet  is a type of performance dance that originated in the Italian Renaissance courts of the 15th century and later developed into a concert dance form in France and Russia. It has since become a widespread, highly technical form of dance with its own vocabulary based on French terminology.

STREET DANCE:
A street dance is a dance style regardless of country of origin that evolved outside dance studios in any available open space such as streets, dance parties, block parties, parks, school yards, raves, and nightclubs. The term is used to describe vernacular dances in urban context.

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Gyre & Gimble place puppetry at the heart of storytelling. their work is inspired by the interplay of movement and aesthetic, daringly fusing traditional and innovative techniques. they create compelling characters that lead audiences through fantastical, improbable and even impossible stories.

they collaborate with artists both established and emerging to make new, exciting work. By creating productions that are both original and unconventional, they expand audience’s expectations of what puppetry is capable of, whilst inspiring and nurturing a passion in those discovering the art form.

Gyre & Gimble was founded in 2014 by Finn Caldwell and Toby Olié. Having met whilst performing in the original production of War Horse, they were made associate puppetry directors of the show. They went on to create puppetry for Tori Amos’s musical The Light Princess and co-directed The Elephantom which after a sell out initial run transferred to the West End.

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commedia dell'arte

1. an improvised kind of popular comedy in Italian theatres in the 16th–18th centuries, based on stock characters. Actors adapted their comic dialogue and action according to a few basic plots (commonly love intrigues) and to topical issues

naturalism

1. (in art and literature) a style and theory of representation based on the accurate depiction of detail.

2. "his attack on naturalism in TV drama"

3. the philosophical belief that everything arises from natural properties and causes, and supernatural or spiritual explanations are excluded or discounted.

drama meaning:
Naturalism is a movement in European drama and theatre that developed in the late 19th and early 20th centuries. It refers to theatre that attempts to create an illusion of reality through a range of dramatic and theatrical strategies.

REALISM:
Realism in the theatre was a general movement that began in the 19th-century theatre, around the 1870s, and remained present through much of the 20th century. It developed a set of dramatic and theatrical conventions with the aim of bringing a greater fidelity of real life to texts and performances.

EPIC THEATRE:
Bertolt Brecht in 1954. Epic theatre (German: episches Theater) is a theatrical movement arising in the early to mid-20th century from the theories and practice of a number of theatre practitioners who responded to the political climate of the time through the creation of a new political theatre.

The Theatre of the Absurd:

is a post World War II designation for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1950s, as well as one for the style of theatre which has evolved from their work.

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Matthew Christopher Bourne is an English choreographer. His work includes contemporary dance and dance theatre He is also the creator of the world's longest running ballet production.
Matthew Bourne is the only British director to have won the best direction of a musical and best choriography, He has been said to be the most audience-conscious artist. He does not go into detail about his works because he wants the audience to have their own interpretations.

Bourne started training as a dancer at the relatively late age of 22. He studied Dance Theatre and Choreography at laban, graduating in 1985 but spending a further year with the college's performance company Transitions. He danced professionally for 14 years, creating many roles in his own work. In 1999 he gave his final performance, playing The Private Secretary in the Broadway production of Swan Lake.

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Robert Louis 'Bob Fosse'  was an American dancer , music theatre chorographer, director, screenwriter, film director and actor.
He won eight Tony awards for choreography, more than anyone else, as well as one for direction. He was nominated for four academy awards winning for his direction of cabaret.

https://www.youtube.com/watch?v=qw0FSREoaLQ#action=share

http://dance.about.com/od/famousdancers/p/Bob_Fosse.htm

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Akram Hossain Khan, MBE is an English dancer of Bangladeshi descent. His background is rooted in his classical kathak training and contemporary dance

In just over fifteen years, Akram Khan Company has established itself as one of the foremost innovative dance companies in the world.

Embracing an artistic vision that both respects and challenges Indian kathak form and contemporary dance, Akram Khan has created a substantial body of critically acclaimed work that ranges from classical and modern solos to artist-to-artist collaborations and company productions.

The Company has a major international presence and enjoys busy tours that reach out to many cultures and peoples across the globe.

Embracing and collaborating with other cultures and disciplines that take others to new and unexpected places, through human themes, Akram Khan Company produces thoughtful, provocative and ambitious dance productions for the international stage.

The dance language in each production is rooted in classical Kathak, modern dance training and Akram Khan's fascination with storytelling. The work continually evolves to communicate ideas that are intelligent, courageous and new, bringing with it international acclaim and recognition as well as artistic and commercial success.

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Berkoff is a British practitioner whose career has spanned from 1965 to today.His physical, exaggerated style of theatre is both popular and controversial, defying the norms of naturalistic theatre.In his productions East and West, Berkoff used the Shakespearean style of language to create an complexity but pairing it with “low” cockney slang and swearing. Complex language that an audience has to focus means they rely on actions to understand the plot. This enhances Berkoff’s physical style.Shakespearean language benefits physical movement as it provides images to work from. In his adaptation of Coriolanus, Berkoff uses mime to show the attack on the gates of Rome that is referred to in the script but not the play. Language does not have to be included in the performance to be shown. Berkoff said of Shakespeare that he wanted to “evoke and resignify”[1] the language of Shakespeare through movement and modern slang. Berkoff often left rejected ensemble acting in favour of one or two-man shows. Most notably, Berkoff performed in Decadence along side Joan Collins in a play that mocked the lives of the upper class.In Decadence we see much of Berkoff’s technique manifested. His mime; exaggerated movement, facial expressions and accents; his use of monologue and dialogue; and intra-dialogic stage directions are all present.

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Constantin Stanislavski started working in theater as a teen, going on to become an acclaimed thespian and director of stage productions. He co-founded the Moscow Art Theatre in 1897 and developed a performance process known as method acting, allowing actors to use their personal histories to express authentic emotion and create rich characters. Continually honing his theories throughout his career, he died in Moscow in 1938.

In 1888, Stanislavski founded the Society of Art and Literature, with which he performed and directed productions for almost a decade. Then, in June 1897, he and playwright/director Vladimir Nemirovich-Danchenko decided to open the Moscow Art Theatre, which would be an alternative to standard theatrical aesthetics of the day.

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Harold Pinter CH CBE was a Nobel Prize-winning English playwright, screenwriter, director and actor. One of the most influential modern British dramatists, his writing career spanned more than 50 years.

His best-known plays include The Birthday Party (1957), The Homecoming (1964), and Betrayal (1978), each of which he adapted for the screen. His screenplay adaptations of others' works include The Servant (1963), The Go-Between (1971), The French Lieutenant's Woman

He also directed or acted in radio, stage, television, and film productions of his own and others' works.

In 1952, he began acting in regional English repertory productions; from 1953 to 1954, he worked for the Donald Wolfit Company, at the King's Theatre, Hammersmith, performing eight roles.[36][37] From 1954 until 1959, Pinter acted under the stage name David Baron.[38][39] In all, Pinter played over 20 roles under that name.[39][40] To supplement his income from acting, Pinter worked as a waiter, a postman, a bouncer, and a snow-clearer, meanwhile, according to Mark Batty, "harbouring ambitions as a poet and writer."[41] In October 1989 Pinter recalled: "I was in English rep as an actor for about 12 years. My favourite roles were undoubtedly the sinister ones. They're something to get your teeth into."[42] During that period, he also performed occasional roles in his own and others' works for radio, TV, and film, as he continued to do throughout his career.

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following on from earlier...

Along with Constantin Stanislavski, Bertolt Brecht was one of the two most influential figures of 20th century theatre and the most significant practitioner since World War II. Brecht's theories for the stage, including his well-known epic theatre form and distancing techniques, made him a force to be reckoned with.
Brecht disliked the shallow spectacle, manipulative plots, and heightened emotion of melodrama; but where Stanislavski attempted to engender real human behaviour in acting through the techniques of Stanislavski's system and to absorb the audience completely in the fictional world of the play,

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Antoine Marie Joseph Artaud, better known as Antonin Artaud, was a French dramatist, poet, essayist, actor, and theatre director, widely recognized as one of the major figures of twentieth-century theatre and the European avant-garde.
He was involved in the surrealist movement as a writer and came up with the idea known as "The Theater of Cruelty," which argued that drama must abandon its emphasis on text and rely on more mysterious, primal expressions of sound, movement and light. Artaud died on March 4, 1948, in Ivry-sur-Seine, France.
Antonin Artaud was a contemporary of Berthold Brecht, and like Brecht, he believed that theatre was essentially bourgeois; despite that, the two men were poles apart. Artaud’s aim was that the performance should make the audience look deep into their own fears

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Sanford Meisne was an American actor and acting teacher who developed an approach to acting instruction that is now known as the "Meisner technique"

Sanford Meisner said that his way of training “is based on bringing the actor back to his emotional impulses and to acting that is firmly rooted in the instinctive. It is based on the fact that all good acting comes from the heart, as it were, and that there’s no mentality to it.”
his training involves a specific series of exercises that build upon each other.  The successful comprehension and execution of each exercise is essential to the success of the next and so on.  Everyone begins at the beginning and moves through each step laying essential groundwork for the second semester’s focus of demonstrating a clear and full understanding of emotional preparation, relationships, and objectives.

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ARTS:
In the visual arts, composition is the placement or arrangement of visual elements or ingredients in a work of art, as distinct from the subject. It can also be thought of as the organization of the elements of art according to the principles of art.
MUSIC:
It also refers to what something is made of. The word composition comes from the Latin componere, meaning "put together" and its meaning remains close to this. Writing classes are often called composition classes, and writing music is also called composition.

Motif and development

A movement repeated throughout a dance but developed for example using this movement at the begging of your dance and repeating this movement throughout the dance but faster or using dynamics. "Motif development is a core choreographic Device used when creating dance
A Change of space levels the size of movement directions. shape/body design pathways and floor change from near to far proximity dance in different areas of stage"
If your motive is in a group dance you can also develop a motor using relationships and choreographic Devices
For example copying,mirroring,leading and following complimentary question and answer action and reaction cause and effect unison, canon group formations.
Change the dynamics ,the speed faster ,slower the quality stronger, softer ,sharper more direct more flowing.

structure

1. the arrangement of and relations between the parts or elements of something complex.

2. So the relationsip between a dancer and its partner and how they learn and layer and proceed within their dance. or an actor learning their role in a peformance learning the charictor and then studing the history or links between the charictor and then learning their lines and lastly becoming that character.

3. synonyms: | construction, form, formation, shape, composition, fabric, anatomy, make-up, constitution;