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

” — 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.

kənˈtɛmp(ə)r(ər)i/

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  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.

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.

naturalism

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.

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.

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.

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. 

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.

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,