Realising a Dance Work Flashcards
(23 cards)
Choreographic process
ISARE (Improvisation, Selection, Arrangement, Refinement, and Evaluation)
Improvisation
Improvisation refers to the process of spontaneous movement, dancing without previous planning or choreography, typically following a specific stimulus
Selection
Selection refers to the process in which a choreographer chooses movement vocabulary to place in their solo
Arrangement
Arrangement refers to the process in which a choreographer manipulates, combines, and orders movement to make phrases and sections
Refinement
Refinement refers to the process in which a choreographer will make alterations and improvements to existing movement
Evaluation
Evaluation refers to the process in which a choreographer determines whether the requirements of the intention and the physical execution have been realised
Discuss how you used each of the elements of movement throughout your solo and how this helped you to create the overarching form of your skills-based solo
Section 1 of the dance work explores a medium level, tempo and dimension with the use of swinging and vibratory energy qualities. This section also employs a use of angular shapes, accents, pauses, uneven rhythm, and an eye/body focus directed towards the audience. The elements of movement explored in section 1 aid in highlighting the contrast between the following section.
Section 2 explores a slow tempo, low level, and sustained, suspended movement quality. This section also utilises more internal eye focus, curved shapes, and movements with a long duration, which contrasts the large dimension, fast tempo, and high-level movement displayed in the following section.
Section 3 shows a significant shift in the manipulation of the elements of movement, forming the climax of the work. The section explores a large dimension, high levels, and a strong adherence to the accents of the music. Furthermore, I utilise a strong, bound, and percussive energy qualities as well as angular shapes and an upwards projected eye and body focus whilst I explore frequent directional changes.
Section 4 serves as the resolution of the dance work, following the climax, it demonstrates movement occurring over a longer duration, with a decrease in tempo and dimension. The movement vocabulary highlights collapsing and sustained energy qualities, whilst showcasing lower levels to clearly contrast the large dimensioned, fast tempo movement in the previous section. Ultimately, the varied use of time and space and energy throughout my sections aids in the establishment of the solo’s overarching form, creating contrast between sections as well as a climax and resolution.
Provide three examples of how you used the processes of research and/or planning to develop the intention of your solo.
One example of how I used the process of realising/planning to develop my intention was through attending Top Class and witnessing how the dancers developed the intention of their solos
One example of how I used the process of realising/planning to develop my intention was by reviewing the criteria of the skills solo and creating a list of what I needed to include and seeing how I could incorporate this through the development of my intention.
One example of how I used the process of realising/planning to develop my intention was by discussing with my teacher how I could highlight my physical skills in my solo.
What were the 5 steps involved in the realisation process when creating your skills-based solo
- Planning/Research
- Choreographic processes
- Rehearsal processes
- Pre-performance processes
- Performance processes
Examples of Planning/Research
- Attending Top Class and witnessing how the dancers developed the intention of their solos
- Reviewing the criteria of the skills solo, creating a list of what I needed to include and seeing how I could incorporate this through the development of my intention
- Discussing with my teacher how I could highlight my physical skills in my solo
Examples of Improvisation
- Improvised with my music as the leading stimulus to explore a variation of tempos and rhythms
- Improvised with the stimulus of finding movement with an interesting and varied use of shape
Examples of Arrangement
- Placed phrases to allow a climax to occur that reflected the music
- Placed movements and movement phrases to create smooth transitions between phrases and sections
Examples of Selection
- Chose movements from my improvisation task that demonstrated a varied use of physical skills
- Chose movements from my improvisations tasks that transitioned well into one another
Examples of Refinement
- Utilised a mirror to correct my use of shape and alignment
- Added detail to my movement to ensure it efficiently reflects the criteria
Examples of Evaluation
- Utilising feedback from peers or the teacher
- Filming and reviewing the choreography and how accurately it shows the criteria of the solo
Describe three rehearsal practices you undertook during the realisation of your dance work. Discuss how these helped you to perform your solo with artistry.
Repetition of movement vocabulary:
One example of a rehearsal process that I employed during the realisation of my dance work was the repetition of movement vocabulary. When rehearsing my dance work, I repeated movement vocabulary to give my confidence in my understanding of the choreography, allowing me to use my full projection whilst performing, demonstrating artistry.
Use of mirrors:
One example of a rehearsal process that I employed during the realisation of my dance work was the use of mirrors. When rehearsing my dance work, by utilising mirrors I was able to monitor my technique and alignment which assisted in technical proficiency whilst performing, demonstrating artistry.
Rehearsing full out:
One example of a rehearsal process that I employed during the realisation of my dance work was performing my movement vocabulary full out. When rehearsing my dance work, I performed my dance full out to develop stamina which assisted in the clarity of my movement execution, therefore demonstrating artistry by aiding in the clear communication of my intention.
Describe three pre-performance practices you undertook during the realisation of your dance work.
- Orientating in the performance space
- Warm up
- Reflect on the intention
- Marking through difficult phrases
- Visualising the dance work
- Checking of production aspects
One example of a pre-performance practice that I undertook was warming up by completing cardio-vascular exercise and dynamic stretching
One example of a pre-performance practice that I undertook was orientating myself in the performance space to check my floor plan and pathways
One example of a pre-performance practice that I undertook was marking through the difficult phrases of the movement vocabulary.
Describe three different performance practices you used when performing your solo. Include discussion on how they helped you to perform with artistry.
Eye/body focus:
One example of a performance practice I employed during my solo was the varied use of eye/body focus. When performing, I manipulated eye and body focus to establish a connection with the audience, therefore establishing artistry.
Technical proficiency
One example of a performance practice that I employed during my solo was tehcnical proficiency. When performing, I utilised technical proficiency to highlight my execution of the physical skills, aiding in my communication of my intention to the audience and therefore establishing artistry.
Adherence to accents:
One example of a performance practice that I employed during my solo was adhering to accents. When performing, I followed the timing and accents of the piece, highlighting my varied use of time, which established artistry by communicating the intention of my skills solo.
Two approaches undertaken when selecting music. Discuss how each of these impacted the movement vocabulary or form of your skills-based solo.
One approach I undertook when selecting the music of my solo was choosing music with a clear climax which drove me to reflect this in my movement vocabulary by arranging my strongest physical skills in this section.
One approach I undertook when selecting the music of my solo was choosing music with an interesting variation in time. This influenced my movement vocabulary as I included choreography that demonstrated a varying use of rhythm, accents, duration, tempo, and pauses.
Define Artistry
Artistry refers to the skills and individual choices a dancer makes when performing choreography for the purpose of communicating the intention of the dance to an audience. These choices can be conscious or subconscious and can include the use and variation of eye/body focus and dynamic energy qualities in accents of phrasing.
Describe two phrases of movement from within your skills-based solo. Include discussion on the movement categories shown and the physical skills.
During section A4 of the dance work, I begins the phrase by elevating to a high level, utilising balance to maintain stability as I stand on my left leg with my right foot outstretched and my arms bent in ninety-degree angles either side of me. I then utilise transference of weight, travelling in a sideways direction as I throw my arms in a circular motion. The phrase develops as I perform a back layout, standing on one leg and holding a moment of stillness here. This movement demonstrates back flexibility. To conclude the phrase, I fall to a lunge position at a low level, utilising control to land safely and minimise risk of injury.
During section A3 of the solo, I begin a phrase by performing two attitude turns, utilising strength in my calf and abdominal muscles which enables the use of correct alignment, protecting my joints and reducing the risk of strain or injury. The phrase develops as I utilise balance to come out of the turn and developé my leg outwards whilst my arms come from my side to hug my chest. To conclude the phrase, I gesture my arms in a circular motion around my body to cradle my head, demonstrating coordination of the head and arms.
Describe two ways you documented the realisation of your solo
One example of a way I documented the realisation of my solo was through filming.
One example of a way I documented the realisation of my solo was through mapping out the pathways of my dance in a journal
Identify one approach you took when selecting the production aspect of costume for your skills-based solo
When selecting the production aspect of my costume for my skills solo, I chose a costume that was form fitting which helped my alignment to be seen clearly as well as allowed full mobility and range of movement when I was dancing.
