Even before the first production staff meeting you want to be thoroughly familiar with the show and begin to develop your vision. After that comes the collaborative process, involving all of the show’s directors, and then… auditions!

Developing Your Vision

Know the Score

You’ve got a copy of the full director’s score (not just the libretto). You want to be able to see ALL of the music, not just rests where music is being played.

If you are not comfortable with reading or using the full score, a copy of the piano or rehearsal score typically includes the vocal line and will give a pretty complete overview of the music or instrumentation.

To introduce yourself to the production numbers, get a copy of the appropriate Broadway soundtrack and try to follow along in your copy of the score. These will probably NOT be identical. Changes, cuts, and additions are made in most productions.  Getting the Musical Director’s to make a rehearsal recording with his/her changes is ideal. I’ve found it’s not unusual for a Musical Director to make cuts based on the Broadway soundtrack recordings but, you never know.

Know the Script

You’ve got your hands on the script, and as mentioned in our article Approaching Choreography for Musical Theatre, you’ve read it more than once and taken notes. Let’s dig in with some specifics about what kind of notes to take, shall we?

What to ask yourself about the musical numbers:

1. How have the characters changed (or not) by the conclusion of the song? What is the characters’ mental state over the course of the song? Does this number move the story forward? This will depend on the show. There are musicals in which song and dance numbers seem to drop out of the sky. Consider ways you might smooth these sometimes difficult transitions.
2. What is the musical style for this number and how might it affect the movement? Is the number energetic and athletic? A soft shoe? A waltz? What does it remind you of (Fred and Ginger, a carnival, moments from your own past, a film you saw once)?
3. How might the main vocalists be used in the number? Remember singing and dancing at the same time can be difficult. Use the chorus or a select group of dancers when possible so that the words and intent of the song are properly communicated. What is their character and how does that character move?
4. How might chorus members be used in the number? Are they part of the primary action or part of the background? Do they help tell the story? How many bodies do you have to work with?(...)
   
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   ]]> http://danceadvantage.net/2011/06/11/musicals-and-collaboration/feed/ 0 http://danceadvantage.net/2011/04/21/making-dances/ http://danceadvantage.net/2011/04/21/making-dances/#comments Thu, 21 Apr 2011 13:45:27 +0000 Nichelle (admin) http://danceadvantage.net/?p=10792

   Reader Question:

   I am going to be teaching a creative dance and choreography class for ages 7-9. I am looking for some resources to assist in helping the students create their own dances. Would you please recommend some?

   Here are a few books/manuals for ideas:

   Choreography: A Basic Approach Using Improvisation (Minton)

   This provides exercises and ideas, as well as some performance forms and choreography assessment sheets.

   Dance Improvisations (Morgenroth)

   Offers a volume of improv structures that could certainly be developed into choreography.

   The Art of Making Dances (Doris Humphrey)

   The essentials of composition and in tune with creative dance principles & elements (space, time, energy manipulation).

   The material in the above might be advanced for that age group but could give you, the teacher, ideas for how to focus their creative dance work toward composition.

   Creative Dance for All Ages: A Conceptual Approach (Gilbert)

   This manual can help you adapt material from the above to the right level for your kids. In addition, many of the exercises are specifically designed for creating beginning-level compositions and many more can be adapted for this purpose.

   I own all of the above books. Here are some others that may be useful:

   • Movement Stories for Young Children: Ages 3-6
   • First Steps in Teaching Creative Dance to Children
   • Dance Composition: A Practical Guide to Creative Success in Dance Making
   • Dance Composition Basics: Capturing the Choreographer’s Craft
   • Dance Composition: An Interrelated Arts Approach

   Exploration ➙ Structure ➙ Choreography

   Any exploration you’d use for creative dance class can be turned into choreography.(...)
   
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   ]]> http://danceadvantage.net/2011/04/21/making-dances/feed/ 0 http://danceadvantage.net/2009/08/10/set-your-ipod-to-shuffle/ http://danceadvantage.net/2009/08/10/set-your-ipod-to-shuffle/#comments Mon, 10 Aug 2009 13:00:44 +0000 Nichelle (admin) http://danceadvantage.net/?p=3298 Everyone needs a bit of inspiration now and then, particularly if you are a teacher and need to be a prolific choreographer week-after-week and year-after-year in your classes and stage performances. Many, I know, settle themselves in front of the computer and scour youtube for dance ideas but there are other ways to spark creativity. My wheels begin turning when I see or read about the work other artists (dance or otherwise) are doing. However, it doesn’t matter if I’m creating a recital number for preschoolers or a jazz combination for 15-year-old students, ideas can come from anywhere. Occasionally I like to turn my spotlight on stories, notions, images, etc. that I feel might serve as a jumping off point – similar to the one-sentence story starters creative writers use. I’m not offering a how-to or making suggestions for your next masterpiece (though I may sometimes offer possible applications). Mostly I just want to help get your own creative juices pumping. You can let me know if I’ve done so in the comments below!

   Experiments with Improvisation, Chance, and Technology

   In honor of contemporary dance trailblazer, Merce Cunningham, who recently passed away, I thought I’d present you with ways in which he (and others) have creatively used digital music devices to devise unique dance/movement experiences and performances.

   The first example is a work that Cunningham made in 2006 while in his late 80s. In eyeSpace the musical score is loaded onto iPod Shuffles (which are provided for the audience). Using this device Cunningham, who consistently utilized principles of chance and randominity in his presentations, gave audience members an individualized listening experience as they watched the dancers perform. This article at the American Art Museum blog offers a nice description of the event from an audience member’s perspective as well as some insightful commentary on how people view art.

   An organization called Improv Everywhere, which is based in New York City, has been doing a variety of innovative and fun group improvisations for several years. They specialize in “organized fun” and have made an annual event of their Mp3 Experiment. This particular mission involves participants downloading an mp3 online and uploading it to their personal mp3 player. A meeting time is arranged and watches are synchronized so that everyone presses play at the same moment. From here, the participants are led through a series of actions and tasks which may seem spontaneous to viewers. You can read more about the six Mp3 Experiments completed thus far, as well as the groups’s other missions, at the Improv Everywhere website.

   Another example in dance was demonstrated by The Pillow Project in Pittsburgh last year. During Silent Saturday (part of their Second Saturday series) these dancers moved in apparent silence while listening to their own mp3 player. Audiences, encouraged but not required to bring their own, had the option to watch while listening to their own soundtrack. You can read more about the event at the Pittsburgh Post-Gazette website.

   These are just a few examples that hopefully will spark your creativity. If you have other related examples, feel free to share them!

   Applications

   I know some of you are probably thinking “Cute, but how in the world would I apply that at my dance studio?” Though I doubt that many of you will be handing out iPod shuffles to each audience member at your next recital, I do think there are ways to adapt or embrace these concepts for both performance and in-class use.

   • Dare to bring a bit of chance to a performance – consider creating a special number that might be danced to a handful of music selections. Your audience will be amazed and delighted that each performance of the dance may be different based on the surprise (even to the dancers) selection for the evening.
   • Create sections of a dance that are then performed in a shuffled order unknown to the performers – for more advanced dancers this could be a great challenge encouraging sophisticated memory and performance skills.
   • Consider an impromptu and interactive segment within your next presentation during which the audience is led through a series of movements or actions. I guarantee they’ll talk about it for years to come!
   • Try shuffling through your own iPod, creating 32 counts of choreography based upon the music you’ve randomly selected, then put the counts together to form a new piece with completely different music.
   • Have some students brainstorm their own “mp3 experiment” and allow other students and parents to take it to the public – could be a unique and memorable way to make your studio’s presence known in the community.
   • Have your class members each select a song, download each song and load them into your player. Shuffle them and create your next class based upon their selections!

   These are off the top of my head, what’s on top of yours now that you have been giving a jumping off point? These aren’t necessarily for teachers only. Students, parents… Get Creative!

   

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   ]]> http://danceadvantage.net/2009/08/10/set-your-ipod-to-shuffle/feed/ 0 http://danceadvantage.net/2009/02/03/using-your-past/ http://danceadvantage.net/2009/02/03/using-your-past/#comments Tue, 03 Feb 2009 21:50:56 +0000 Nichelle (admin) http://danceadvantage.net/?p=1428 Last weekend I had the pleasure of attending two contemporary dance performances here in Houston. Coincidentally, in both works the choreographers mined their own backgrounds and experiences to generate material.

   In House of Mind, Seattle choreographer Pat Graney, focuses on the concept of memory. Her work went beyond the typical theatrical presentation on a proscenium stage. In fact she and her team constructed an entire art installation based on her childhood memories which the audience could tour before taking in the performance. The dancing was abstract (and not terribly “dance-y”) but made interesting use of the space (much like site-specific work except she had created the site as well as the work) and props (specifically some wooden chairs and large kitchen drawers).
   You can read more about the performance in the review I posted on my personal site.

   Tetris, by dancer/artist Toni Leago Valle, was much more theatrical than Graney’s work. Valle used popular music from her past, included soundbites and video clips from recent historical events (focusing on the 1980′s and early 90s), and added humor and drama to the dancing in order to tell what was essentially her own coming of age story. Valle’s work also displayed creative use of movable set pieces that were shaped like the blocks in the Nintendo game Tetris. The piece was also inspired by an investigation into a psychological concept/technique called Voice Dialogue which theorizes that individuals have many “selves” which make up their personality. You can read more about that aspect of the dance in my review.

   Applications

   I share these two examples with you because, even if you are not creating artistic concert dance works, there are lessons and applications that you can take away from these for use in your own choreography – even recital dances!

   In both examples, audiences really connected with the work being performed. Why?

   

   Photo courtesy Chicago's North Shore Conventions & Visitors Bureau

   • Because viewers were able to find/recognize themselves in the memories or stories of the past being presented. Audience members’ own memories and experiences surfaced as the choreographers explored their personal histories.
   • The choreographers’ strong connection to the material translated to the audience, giving the dances a very sincere yet unforced quality – audiences like that.
   • Both pieces were nostalgic without being overly sentimental. Sentimental will grab some folks but, tug too hard at those heart strings and you’ll leave the audience feeling as though they’re being manipulated like a marionette. Showing restraint in this area will be more likely to melt even the hardest hearts.

   Autobiographical dance doesn’t necessarily have to be literal or chronological.

   Sometimes a story laid out in chronological order is not all that interesting. Consider this: Your friend traveled to Paris and recorded everything she did and everywhere she went on video. She has placed it all on a DVD, unedited. Another friend that went on the same trip took some photographs that highlighted her journey. Her photos are all out of order and she rarely captioned them but she’s put the images together in a slide show. Which would you rather sit through? I think most people would rather see the slide show which, even without the details, gives an idea about what kind of trip it was and allows them to interact or form questions as they watch. It would be okay to mix the slides and video too but, the point is, be wary of boring the audience with too much detail, leaving no room for interpretation or imagination.

   Use sound, music, and even video projection in creative and unexpected ways.

   • Both of the works above used clips of people speaking in addition to musical selections. Sources for these soundbites included pieces of an interview, clips from movies and news broadcasts, and someone reading something or describing something. Both, at one point, also utilized a dancer singing a song portion on stage.
   • Musical selections included songs directly from or that evoked a period in history. Sometimes there was a juxtapositioning of moods or styles, for instance an upbeat or uplifting selection that accompanied movement with dark or gloomy themes, or a slow adagio during a song to which one would normally Jitterbug.
   • 

     Photo by Clav

     Each of the above performances incorporated video projection as well. Tetris used actual clips of news footage and movies from the time period that often accompanied the dancing. The dancers sometimes ignored the clip but usually interacted with or acknowledged these almost as they would another dancer/character in the piece. In House of Mind the projections sometimes appeared in unique places such as the back of a chair, and in various locations throughout the space. This of course takes proper equipment to accomplish but consider other ways to incorporate images (moving or not) in your dance in unexpected ways. Pieces of a set come together to form an image, dancers recreate the characters in a painting or the action in a famous movie clip, pictures are revealed when a particular prop is flipped over… use your imagination!

   Props and sets don’t always need to be used for their intended purposes.

   • In House of Mind the dancers used chairs in completely unique ways – not just for sitting. Chairs are used a lot as props in dance but, as many chair dances as I’ve seen, I never felt like the material was tired or familiar. The kitchen drawers had many, many uses throughout but the only thing they ever “contained” were the dancers! The dancers even executed unique methods of ascending or descending an ordinary staircase.
   • In Tetris the set pieces were differently shaped blocks. They were most often in pieces but fit together to form a hollow cube which at one point caged (or perhaps protected) the main character. They were also hidden behind, stacked, danced upon, dangled from, sat upon, and moved about to be utilized in the background and as a featured prop of sorts.
   • At least one, but possibly both choreographers, relied on their dancers in the creation of movement. Therefore in the use of props in particular (but certainly in other movement), the dances benefited from tapping into the creativity of more than one mind. Allowing dancers to explore and experiment with props or set pieces is a great way to find unique and original uses for them.

   Translation

   

   Photo by Camilla Dorothy

   It is easy to get stuck in a rut with choreography, particularly if you create multiple dances year after year for students. Seeing the work of others can really encourage a flow of ideas. In this particular case, although there were certainly lots of ideas to be gleaned from the concerts I saw this weekend, the one that stands out is just how much raw material there is in your very own personal history.

   There is no dance style, age group, or setting for which this idea could not be repurposed. Think back to your experiences growing up. What did it feel like to when you got that first pair of tap shoes and practiced in the kitchen? Can you capture that feeling in movement? Could oversized props add to the dance? What was your first day of high school like? Can you choreograph a ballet dance that conjures the feelings and/or includes the characters, cliques, or experiences of that day? What were the songs of your parent’s generation? Can you construct a jazz dance to one or more of these songs but fuse it with important events/themes of your own generation?

   These are just a few examples. Do you have examples of your own that you’ve used in choreography?  Or, that you’ve just thought up? Also, let me know if this article has inspired you. I’d love to hear about the result!

   

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   ]]> http://danceadvantage.net/2009/02/03/using-your-past/feed/ 4 http://danceadvantage.net/2008/08/25/creative-dance/ http://danceadvantage.net/2008/08/25/creative-dance/#comments Mon, 25 Aug 2008 07:47:14 +0000 Nichelle (admin) http://danceadvantage.wordpress.com/?p=153 Creative Dance for Children

   A creative dance class designed for children will help them prepare for a future in dance and other physical activities. In class, dancers are provided with the opportunity to use their imagination, creativity, and self expression while developing skills that are the building blocks of all movement and dance activities. They learn good listening skills, proper classroom etiquette, and how to move safely with other children, as well as learning respect and tolerance for others. Young children enrolled in creative dance learn and practice basic motor skills (locomotor and nonlocomotor movements) and use a variety of music and props which enhance self-awareness, control and coordination. These experiences are offered with consistent structure and provide many opportunities for mastering skills. This creates a sense of predictability as well as a safe place for the younger child to learn cooperation, increase self-esteem, and attain a sense of accomplishment.

   Early childhood educators encourage preschool and kindergarten programs that are designed for the mind of a young child because it has been found that most children under 7 or 8 are not ready to be taught focused subjects while sitting behind a desk for long periods. Dance is no different. To benefit from the intense focus and concentration of a ballet class which is very structured and contains extended periods at the barre, it requires a physical and mental maturity not available to most younger children. Children under 7 or 8 are typically neither interested in nor ready for this kind of learning. Creative dance is perfectly suited to offer preparation of the mind and body for a younger student, gradually helping them to learn self-control and increase their ability to focus. This prepares them for the rigors of technique class, just as preschool readies students for reading and math.

   What is the difference between pre-ballet and creative dance?

   Traditionally, pre-ballet is a class that introduces dancers of about six to nine years of age to the ballet class format (barre, centre, traveling), movements, and techniques (including turnout). It prepares these young students for more intense and detailed ballet instruction. Many schools that teach “pre-ballet” to children younger than 5 or 6 are combining a large helping of creative dance (or something else) with very basic basic ballet instruction like feet and arm positions. This is because ultimately children younger than five or six are not capable of standing still long enough to learn true ballet technique and do not have the muscular control to safely perform most ballet movements. Some dance studios may label preschool classes as “pre-ballet” or “creative dance,” however some classes have little to do with either. These may skim the surface of both disciplines, providing follow-the-leader games, pretend play, and sing-along songs that have little “meat” when it comes to learning the concepts of movement or moving. While these movement experiences are not without value – participants do learn classroom etiquette, following directions, and other skills – they offer little meaningful preparation for dance technique or for expressing oneself through movement.

   While dance for young children should certainly be playful and fun, any program for this age group should be taught by teachers with experience and be specifically designed to match the needs of dancers who are in crucial stages of brain and motor development. Too often, this is backward in dance studios and the youngest children are taught by inexperienced instructors (sometimes teenage students) with no thought as to what is developmentally appropriate. In my experience, children enjoy exploration and the freedom to make choices. Most would prefer not to stand in a line and practice the same movements over and over. In creative dance, children are guided in the creation of choreography which is developed as a result of decisions and choices they’ve made during exploration of movement, and they are encouraged to discover rather than mimic. If I were choosing a program for my own young child, I would look for a school that offers a quality creative dance program through the age of six or seven and, if possible, beyond.

   Is Creative Dance Just For Kids?

   No, the concepts of creative dance are appropriate for any age or level of dancer and will enrich the education of dancers no matter what style or technique they study. This is because, through creative dance, dancers young and old are introduced to the basic elements of dance, including proper alignment, patterns, tempo, levels, rhythm, and spacial awareness. Activities frequently offer problem solving opportunities which increase in intricacy as the student grows and develops. The dancer is given multiple options about how, what and where he/she will dance. Creative dance students are given opportunities to utilize these decision making skills in improvisation and to create short or long pieces of choreography. Improvisation encourages the dancer to think on their feet, react to others, and expand their movement vocabulary. Choreography requires the ability to remember and predict a sequence or pattern of movements (skills essential to understanding mathematics, science and reading). Performances, both informal (within the class) and formal, help the dancer become more comfortable in front of large groups. In creative dance, students learn to appreciate their own individuality. As they observe and participate in class they witness that every dance and every dancer is special and unique, which builds confidence and self-esteem. Dancers also learn to work independently and in a group, and that perseverance and dedication lead to success. The skills developed in creative dance are all essential in life and in dance, convincing me that creative dance would be a beneficial (if not vital) portion of any dance curriculum for all age groups.

   Learn More About Creative Dance and Teaching Improvisation

   Websites:

   Creative Dance Center – the school and program developed by creative dance leader and pioneer, Anne Green Gilbert.

   International Association for Creative Dance – an organization built around the vision and techniques of Barbara Mettler.

   Books and Video:

   Creative Dance for All Ages: A Conceptual Approach

   Teaching Creative Dance

   First Steps in Teaching Creative Dance to Children

   Choreography: A Basic Approach Using Improvisation

   Dance Improvisations

   Teaching Dance Improvisation – DVDs and videos by Ririe-Woodbury Dance Company

   

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   ]]> http://danceadvantage.net/2008/08/25/creative-dance/feed/ 8 http://danceadvantage.net/2008/05/28/censorship-in-salt-lake/ http://danceadvantage.net/2008/05/28/censorship-in-salt-lake/#comments Thu, 29 May 2008 03:20:29 +0000 Nichelle (admin) http://danceadvantage.wordpress.com/?p=56 I just came across this article from the Salt Lake Tribune in Utah. I found it interesting and was wondering if any of you had opinions. Do you think the school was correct in pulling the number, citing that it was not appropriate for a family show? It would probably be important to see the dance in question to truly judge the appropriateness of this dance, but I’m also curious about your own experiences with dancing about touchy subjects like politics. When does pulling a dance cross the line into censorship?(...)
   
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   ]]> http://danceadvantage.net/2008/05/28/censorship-in-salt-lake/feed/ 1 http://danceadvantage.net/2008/04/18/big-boi-outkast-ballet/ http://danceadvantage.net/2008/04/18/big-boi-outkast-ballet/#comments Fri, 18 Apr 2008 15:25:05 +0000 Nichelle (admin) http://danceadvantage.wordpress.com/?p=34 http://www.youtube.com/watch?v=qSUKfk-6vhQ

   

   I wanted to report of an interesting collaboration that has taken place between Big Boi (a member of the rap duo, OutKast) and the Atlanta Ballet.(...)
   
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   ]]> http://danceadvantage.net/2008/04/18/big-boi-outkast-ballet/feed/ 0 http://danceadvantage.net/2008/04/07/using-photographs-as-inspiration/ http://danceadvantage.net/2008/04/07/using-photographs-as-inspiration/#comments Mon, 07 Apr 2008 15:23:06 +0000 Nichelle (admin) http://danceadvantage.wordpress.com/?p=20 Whether you are a teacher looking for new recital dance ideas, or a budding student choreographer, we could all use a little inspiration from time to time.  Photographs are a great way to get the creative juices flowing. Here is how one choreographer tied his existing dance to photographs, making both come alive.  This is certainly one way to give your choreography new dimension. However, as I read the article, I began contemplating ways one could use photography as a starting point.  These could also be great exercises for those participating in or instructing a composition/choroegraphy workshop.

   • Compile a series or grouping of photographs and put them in order (randomly or deliberately) and re-create the photo with dancers in a tableaux.  Then decide how to move between them.
   • Choose personal photographs (from childhood or a special time in your life) and use them to bring you back to that time period, set the mood for the dance, or become characters in your narrative/story.
   • Choose a single photograph that speaks to you.  The colors and style of the photograph can inspire lighting or costuming.  Even if there are no people in the photograph, your dancers and their movement can evoke the emotions or feeling of the image.  You can even project the photo on your backdrop.
   • Here’s another unique idea, using photographers as the subject of choreography.

   There are lots of possibilities. Perhaps old Hollywood glamour photos will inspire black and white costuming and lighting effects to simulate flashbulbs.  Perhaps a wide landscape photo will inspire large, open movement with broad and sweeping music.  Historical photos could help re-enact moments from our nation’s past. An entire program or your next recital could be filled with dances that are inspired by photographs/photography.  Remember, there are no limits other than your imagination and no wrong way of using the photograph(s) as a jumping off point.

   What are some of your ideas for using photography as a starting point for choreography?

   

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