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Experience of the following will enable the dancer to develop compositional skills.

A range of Stimulus opportunities to participate in structured dances as individuals and pairs, small groups and large groups.

A range of tasks from directed to open-ended

Ownership of their ideas and outcomes.

A range of accompaniment Different Styles and types of dance

Use compositional devices (e.g., climax, contrast, repetition)

Shape and structure material:

Link actions, sequences, sections;

Recognise movement patterns;

Order actions and sequences;

Give form to the material (beginning, middle and end) and adding or taking away certain action, space, dynamics and relationships.

Choreographic Principles

Motif and Development

Repetition

Contrast

Highlights

Relationships

Motif development

Beginning and endings

Whether all the dancers will be onstage at the start and finish.

Exits and entrances.

Where in the space the dancers will start and finish?

Starting and finishing positions.

Every dance should have a

Beginning-middle-end

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Structure
The dance forms are

Binary: is a dance in two parts where the second section provides contrast but is linked by theme.

Ternary: is a dance in three sections with the middle section providing contrast

Narrative: is where a storyline unfolds a section at a time.

IMPORTANT: The end of the dance is what will stay in peoples mind.

Forming provides the internal logic that holds a piece together and makes it work.

For our purpose, forming has a dual function. It is both

1. The process of developing material, and

2. The process of giving it a structure

Transitions

The matter of transition is an important aspect of creating choreography that flows with its own inner kinaesthetic logic.

A transition between two steps can be a

tiny step

simple as a change of direction or focus

or it may be a movement phrase itself.

Sequencing

For example, 1-2-3, 3-2-1, 2-1-3, 2-3-1, 1-3-2

AB form: is a theme and a contrasting theme, going from A to B need some transition.

ABA form: Using the same material in the previous assignment. Take A and shorten it, do B as before then find a transition back into A.

Rondo: has a chorus section that remains the same with each section between being different to the one before. It is a further extension of the AB form, ABACADA.

Rondo has a basic theme A that keeps returning in a pure or modified form.

Narrative: is where a storyline unfolds a section at a time (for example L’enfant du sortilege, from Jiri Kylian)

Dance Toolkit- Form

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Canon is the most satisfying forms because it has unity and variety built right in to it. Basically, it is the same step repeated, it works well in dance because it:

Recreates the lost movement

Recreates the lost movement

Recreates the lost movement

Example

Row, row, row, your boat

Canons

1. Strict

1. Reverting

1. Overlapping

2. Nonoverlapping

Reverting Canon

Each person does the entire phrase from beginning to end

Reverting-Overlapping

Dancer A : 1  2  3

Dancer B :      1  2  3

Dancer C :          1   2   3

Reverting-nonoverlapping

Dancer A : 1  2  3

Dancer B :              1  2  3

Dancer C:                            1   2   3

Reverting-nonoverlapping

Dancer A : 1  2  3  4                  5  6  7  8

Dancer B :                  1  2  3 4                   5  6  7  8

Dance Toolkit
Choreographic Devices

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Dance Toolkit - Choreographic Devices: Canons

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The Seasons Canon: Autumn

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Crystal Pite The Seasons' Canon ( Autumn )

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Blake Works
Découvrez « Blake Works I » première oeuvre issue de la collaboration entre le chorégraphe William Forsythe et James Blake, étoile montante de la musique électronique britannique.

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Blake Works de William Forsythe - Teaser

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The Sesons Canon
Musique : Recomposed by Max Richter. Vivaldi, the Four Seasons, Spring 1”

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The Seasons' Canon (Crystal Pite) - Extrait 1

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Pas de deux de vendanger