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

By Jacqueline M. Smith-Autard

Dance composition – the self-discipline that interprets principles into dances – is a crucial a part of dance schooling. This booklet, a bestseller for over two decades, is a pragmatic advisor to artistic good fortune in dance making and is a well-liked textbook for all those who find themselves drawn to dance composition, from secondary college to university.  This new version incorporates a DVD with video taken from Choreographic results, a groundbreaking complicated know-how source pack geared toward comprehensively enhancing scholars' choreography. The booklet has been revised, redesigned and elevated. connection with the DVD examples are made in the course of the ebook and new assignments in accordance with the video fabric are included.

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Sample text

For example, a gentle sway in sadness may be taken as a large body movement into side extension followed by a circular upper trunk movement with a turn. Pure representational presentation is mime and from this extreme there are degrees of representation through symbols to the most ‘symbolic’ and least representative which is a nearly unrecognisable presentation. 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.

Lacking in concrete program or story. This latter definition is wide and meaningless. If a dance lacks a story it is not necessarily abstract. If it lacks a concrete programme it can have no logical development, clear manifestation or communication, in which case it is not a dance. Often, young dance composers think they are ‘with it’ and very modern if they present a series of unrelated and therefore ‘non-programme’ movements as an abstract dance. 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.

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 has potential for development This evaluation pre-supposes considerable knowledge of both material and form, 39 Dance composition a knowledge which is acquired through experience. The apprentice-composer starts from feeling, not knowing, and may select a starting movement intuitively.

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