But, if a choreographer really takes everything in consideration, he doesn’t forget the dancers sensibility and needs.Ĭomfortable clothes are more important in contemporary dance as people would normally talk about. As contemporary dance is frequently theatrical, all kind of clothes are accepted for symbolic or aesthetic meanings. If you’re one of those choreographers interested in relating your dance to a musical piece, you might want to visit our contemporary dance musicpage.ĭeciding upon costumes for a performance is another one of the choreographer’s responsibilities. Actually you can find both types of relation to music on contemporary dance stages (sometimes during the same piece). Nevertheless, sometimes we do make use of the music’s structure, rhythm or dynamics when composing choreography. This is a weird feature for many audiences, but believe me, you can find it very, very often. This means that movement is not necessarily matching its rhythm or dynamics.
In contemporary dance performances, music can be just a background soundscape. Now I must say, this is an hypothetical, ideal choreographer… but anyway, he entrusts a musician to create for him, chooses upon already existing pieces or creates music himself.īefore inviting you to a page where you can exercise music analysis for choreographers, I’d like to remind you that the use of music in contemporary dance sometimes differs from its employment in mostly all other types of dance. As contemporary dance is generally accompanied by music… (we dance in the silence too…), the choreographer also needs to have musical knowledge. That is for the theatrical side of her/his character…Ĭoncerning her/his ‘conductor’ side, s/he decides how movement will relate to any type of music or sounds (if that’s the case). Remember that there are virtuous dancers, lyrical, mature, acrobatic, young, with all types of features, etc…. S/He chooses dancers as well, considering the ‘taste’ he’d like his piece to have. To decide upon the general organization of its dance, the choreographer chooses or creates movement dramaturgy, whether her/his dance is an abstraction or a story. Now, if we think of the popular current use of the word ‘choreographer’ between contemporary dancers, we’re talking about the BIG CREATIVE HEAD (or HEART if you prefer).įirst of all, the profile of a person who composes a contemporary dance piece is usually between the one of a theater director and an orchestra conductor. I ask my self if this is really an aesthetic point of view or if some choreographers just don’t really want to face movement… (?!) I know however, that some contemporary dance artists have troubles to think about all those components of a performance separately. The art of choreography itself is concerned about movement alone (or dance) before its relationship with costumes, lighting or any other scenic complements. So, the choreographer’s work is the art of inventing or arranging movement, as well as choosing dramatic structures to organize it or present it to an audience. But, if we stay closer to the popular meaning of the word itself (choreography), we could say that it refers to the practice of dance composition with human body’s movement.
LYRICAL DANCE CHOREOGRAPHY PROFESSIONAL
This situation varies according to professional or economical contexts, but it really seems to be that creating contemporary dance choreography is a task of many MANY tasks. In many cases, she or he is its producer, manager and even one of the dancers! Unlike in other scenic arts, a contemporary dance choreographer is usually a general director in charge of making the decisions upon every matter included in her/his creation. Those of us who have been through the process of creating a choreography know that in contemporary dance, a choreographer does a lot more than just composing dance.
0 kommentar(er)
