By Jacqueline M. Smith-Autard

Dance composition – the self-discipline that interprets rules into dances – is a vital a part of dance schooling. This ebook, a bestseller for over 20 years, is a realistic consultant to artistic luck in dance making and is a well-liked textbook for all people who are drawn to dance composition, from secondary institution to university.  This re-creation contains a DVD with video taken from Choreographic results, a groundbreaking complicated know-how source pack aimed toward comprehensively enhancing scholars' choreography. The e-book has been revised, redesigned and improved. connection with the DVD examples are made in the course of the ebook and new assignments according to the video fabric are incorporated.

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Additional resources for Dance Composition: A Practical Guide to Creative Success in Dance Making (Performance Books)

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During improvisation, there are moments when a movement feels right and fits the composer’s image. When this occurs, the improvised movement phrase can be recaptured to provide the basic ingredient for the composition. The movement or movement phrase which evolves in this way may be a suitable starting point for the composition process. In evaluating this matter, the composer may use one or more of the following criteria: 1. the movement has meaning and relevance to the idea for the dance 2. the movement is interesting and original in action, dynamics and spatial patterning 3.

The movement in a body shape either lives or dies and the composer should be aware of each body shape as part of the material content which communicates the idea. The dancer also makes shapes with the body as it moves and the onlookers see these shape images transmitted as part of the total expression. Therefore, these shapes need to be clearly defined in movement. Extension and control of the dancer’s movement in space are technical necessities for success in this respect. The aesthetic quality of shape in space The audience might also enjoy the aesthetic qualities the shapes may embody.

Perhaps it works in the static visual arts for viewers have time to ponder, look from all angles and read meaning into it as they wish. The dance audience cannot look and ponder. A temporal art cannot be abstract in this sense of the word, its images must somehow be linked and connected. 33 Dance composition If we accept the definition of fine art, then we see that the dance composer could justifiably portray images which are abstracted from the natural and bear resemblance to it. Obscurity, however, should be avoided.

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