Download Dance Composition: A Practical Guide to Creative Success in by Jacqueline M. Smith-Autard PDF

By Jacqueline M. Smith-Autard

Dance composition – the self-discipline that interprets principles into dances – is a vital a part of dance schooling. This booklet, a bestseller for over 20 years, is a realistic advisor to artistic good fortune in dance making and is a well-liked textbook for all those people who are drawn to dance composition, from secondary tuition to university.  This new version features a DVD with video taken from Choreographic results, a groundbreaking complex expertise source pack geared toward comprehensively enhancing scholars' choreography. The ebook has been revised, redesigned and accelerated. connection with the DVD examples are made through the publication and new assignments in response to the video fabric are incorporated.

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

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It is quite probable that the stimulus which prompted the idea brought into the composer’s mind images of movement related to their own experience, which convey the idea, feeling, mood or happening. For example, sadness conjures up images of people bent, slow moving, small movements, swaying, hand wringing, head in hands, etc. In a dance to depict these human movements exactly as they are in real life, is to use the movement in a purely representational way. To use these movements, extracting the essence or main characteristics and adding other features in action or dynamic stresses, is to use the movement in a symbolic way.

The word nearly is stressed because if it is unrecognisable then it fails. The least representative to reality makes the movement open ended in that there may be quite a number of interpretations of its meaning. This may be because the signal that the composer chooses to retain is very weak juxtaposed to his/her own unique embellishments. Nevertheless, something within the range of possible representative meaning must be clear to the onlooker. 36 Methods of construction 1 Representational Mostly representative Pure mime (Photo 1) slightly symbolic (Photo 2) Fairly representative mostly symbolic (Photo 3) Nearly unrecognisable representation (Photo 4) Symbolic The composer, then, stimulated by his/her own experience of meaning in movement, decides how to present the meaning, representing it as it is in real life or symbolically portraying it in an original way.

The aesthetic quality of shape in space The audience might also enjoy the aesthetic qualities the shapes may embody. If this is to be the case the composer must pay attention to the alignment of the dancer in relation to the front. The bodies which face front with the arms and legs 51 Dance composition on a forward and backward plane lose their shape and line for the audience. It is vital that the perspective and directional implications of placement in relation to the view are considered. (Photos, 5, 6 below) 5 Wrong alignment 6 Right alignment The pathways created on the floor and in the air The pathways the dance creates on the floor and in the air are living parts of the dance.

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