A Community Performance - Essay Example

? A community performance Introduction A dance can be described as a rhythmic movement of the body, normally in response to music and in a particular space, for the aim of expressing either a feeling or an idea, discharging energy, or merely enjoying pleasure in the movement itself. Dance is an influential desire; however the art of dance entails the strong desire channeled through competent artists into something that gets intensely expressive and that might please the audiences who have no desire to dance. In creating a community dance, the two ideas on the art of dance will be observed. That is dance as an influential impulse and as a skillfully choreographed ability practiced mostly by professionals. The link between these ideas will be stronger in producing a dance for a live community audience. Producing and making a dance for a live community performance is one of the most challenging tasks and it requires joint efforts. Several people will need to be engaged in coordinating all elements that are essential for production. Some of the fundamental aims of creating this dance would include expressing and communicating our feelings. We will open the dance with a voice over counting 1,2,3,4, it will be counting four times in totoal and will speed up as it goes along. This will be used to introduce the ocd. We will be in the audience or one of the chairs getting up on stage sequence (nat workshop)-introduces our characters. This will slowly show the affect our ocd/ movement has on us and on each other. Showing the connections between us as we travel about our everyday life. Trio - waking up in everyday life, showing our relationships between each other, showing our interaction e.g racing forward (competing against each other). further developing our characters and the relationships between them. The four of us (niamhs workshop) - this further develops the relationships between our characters it shows how we can support each other and what happens when that support is lost. It symbolises our need for support but also some characters reluctance to accept this. Cecilia and ewas duet - it is meant to be a supportive calm yet at times forceful and abrupt duet. Mini duets (ewas workshop) - this developes ewa and cecilias relationship of support. It also shows Niamh and Nats relationship (nat not wanting to talk/slightly controlling niamh. These relationships are all a counter reaction of our feelings towards ocd. Niamh and nats duet: showing niamhs battle to be open about it and nats battle to keep it hidden. symbolises the struggles behind ocd that doesn’t always appear on the surface Possible working with other people - representation of more character relationships that occur from ocd Niamh, Cecilia and Nat sinister trio - heavily focused on characterisation. showing the reactions of others to ocd e.g niamh is open about it and nat and cecilia are intrueged and checking if she still does it in weird situations. their ocd is still showing through but they are trying to hide it.  The community dance will aim at educating people on the importance of insurance as well as entertaining them. Moreover, the community dance will often entail a unique attempt of stylization, for instance the dance movements will be arranged into a rhythmic or spatial pattern, tracing circles or lines on the ground, tracking a definite order of steps, or complying with a pattern of usual stresses or accents. All these features will produce a unique condition of mind and body that will provide the audience with a different knowledge. We would like the audience to be drawn into the patterns and rhythms generated by the movements of dancers so that they may share the feelings being expressed. The choreographic process Choreography refers to the art of creating dances, the assembly and arrangement of movement into a pattern and order. Latest Western dances have been produced by particular choreographers, who have been considered as the owners and authors of their works in an approach comparable to composers, writers, and painters. The majority of social and entertaining dances, in contrast, are products of extended evolution, concerning innovations that many people or unspecified persons have brought to customary structures. This evolutionary course of action is as well typical of a great deal of choreography that is non-Western, where the steps and types of dances are passed down from generation to generation and are subject simply to slow and incomplete change. Yet in civilizations where it is regular for dancers and dancing controllers to create their individual disparities on present dances, it may be untraditional to respect a person as a specific creator of a dance (Doris & Barbara 1987, p. 69). When choreographers’ embark on creating fresh works, or probably rewrite customary dances, their inspirations or impulses for doing so differ broadly; it could be that a specific dance has a role to fulfill, for instance marking a commemoration, decorating an opus, or pleading for rain. It might be that the work lacks a particular role and that the choreographer is just answering to an external stimulus- a composition of music that has proposed a movement or structure, maybe, a literature subject or a painting, or probably a specific idea or feeling or a fascination with a specific choreographic concept. Such stimuli might affect the work even though the choreographer is developing it for a particular aim, even if, as with any performer, it is unusual for a choreographer’s intentions and motives to be obviously analyzed- especially at the time of the real working procedure (Alma 1991, p. 76). The techniques through which various choreographers will create this community dance may as well differ. A number of them may work intimately with the dancers’ right from the start, attempting ideas and taking recommendations from the dancers prior to gathering all materials collectively. Other choreographers may begin with clear concepts concerning the outline of the work and its substance even prior to going to the studio. The choreographer’s may employ tiny models to create the dancing groups. The choreographer will only do little without the dancers due to the fact that the dance notation is moderately undeveloped. Therefore, the choreographers will have to work closely with the dancers. While the author can write a comprehensive work of art without meeting the pop group that is going to play it, the notation of the dance will be mostly employed in recording instead of creating dances. The process of choreography will be divided into three stages for the purposes of analysis. However the stages will not be distinct in terms of practice (Nick 2000, p. 23). The stages will include: collecting the movement material together, creating movements into expressions of dance, and developing the last structure of the dance. Collecting the movement material The manner in which the choreographer will gather movement material will rely upon the tradition in which he operates. In this kind of dance, ocd was employed in the dance because it had promosing creative exploration and creative movement material- it was simply a question of developing variations in a pattern of movements. The dancing managers will create variations on the present dances and will print them in dance handbooks bearing their identifications (Chris 2006, p. 45). The choreographers will employ the customary steps and enchantments that dancers study in class as raw material for their work of art. The same is factual for lots of of today’s artists of Middle Eastern or Indian dance types; they might not strictly pursue the customary structure and series of movements given to them, however they remain faithful to their typical styles, keeping hold of the customary quality of movement in addition to not introducing movements or steps widely diverse from the original (Anna & Rachel 1995, p. 80). In contemporary Western structures, choreographers have done less work in recognizing traditions, producing instead expressions and technique of movement to go well with their own individual visions. However even in the occupation of pioneering choreographers, it is likely to trace main influences. For example, Martha Graham’s work, in the 1920s, was powerfully influenced by the Southeast Asian as well as American Indian dance types used by her adviser, Ruth. Our technique will owe to a large extent on classical ballet (Horton 1996, p. 65). Though every choreographer taking part in this dance will draw material from different sources and will regularly apply different styles, most of dance work of one choreographer will demonstrate a typical fashion of movement. However, dances are once in a blue moon a loose gathering of distinct movements. The manner in which movement material for this dance will be linked to the phases of the dance will be a significant aspect of choreographer’s fashion (Paul 2001, p. 72). Building up movements into expressions We individually choose different repetitive movement which later are included in the journey through the dance. The dance will open with a voice counting 1,2,3,4, it will be counting four times in total and will speed up as it progresses. We will be in the audience or on one of the chairs on stage repeating our ocd movement following the music. Several factors in the creation of this dance will operate to make the observer perceive a sequence of movements as an expression (Jo & Liesbeth 2009, p. 78). It will possibly be that one movement will run without problems and naturally into another in the expression and that there is lack of awkward changes or that there is some obvious visible pattern to the movement (for instance the basic three-step expression in the waltz). Rhythm is an important aspect, and movements will regularly be obviously linked by a familiar pattern of intonations (Spain 2003, p. 34). A movement’s intonation will be calculated from its power and period; therefore, a hard, pointed movement will have a strong intonation, whereas a soft, slow movement will have a frail one. Yet a distinct movement, for instance a head spin, may start with a strong intonation and finish with a frail one. The phrases that have flawlessly regular rhythm, the frail and strong intonations recur in the similar series and constantly over the equivalent period of time (Valerie 2001, p. 67). Dance phrases will differ both in form and length. An expression may perhaps start with a very powerful movement, or greatest output of force, that slowly comes to a break, or it might have its high point somewhere in the center or at the closing stages (Larraine 2007). Additional dance expressions, in distinction, may have a constant distribution of force. These aspects will determine the manner in which the expression is perceived by, as well as the outcome that it creates on the observer. Extended, repetitive and consistently paced expressions will generate a rhythmic effect, whereas a sequence of short expressions with strong high points emerges nervous and theatrical. One of the unique features of our dancing style will be the eradication of connecting steps and flowing transitions amid movements, with the intention that several of our dance phrases will be short, forceful and stark (Anne & Tarin 1989, p. 78). Once an expression will be created, it can be built in numerous diverse ways. Possibly, the simplest method is duplication, in which the identical expression will be repeated, and built up, in which the initial phrase is replicated with a fresh expression included on every time. Separate dance expressions may as well be replicated according to a pattern (Estelle & Barbara 2010, p. 56). The most essential will be the alternation of two expressions and the other will be the passing of one or more additional expression from one dancer to the other in canonic style. The material in a dance expression can as well be expanded in several ways to produce fresh material. The most simple is a plain reversal of the succession of movements in the expression, but more intricate values of the motif and growth of subject matter and variation are as well ordinary (Christopher, Joshua & Jane 2006, p. 12). The principle of subject and disparity works on the similar original dance expression being replicated in several different manners; for instance, with different figures of persons, at diverse speeds, with diverse fashions of movement (rough or smooth), or with diverse theatrical traits (sad or happy). In motif and growth, material from inside the expression will be expanded in fresh ways, for instance, by decorating it with additional movements, by emulating it on a dissimilar scale or through dividing it and replicating only small facts. Developing the last structure The last stage of choreographic procedure, developing the general constitution of the dance, might be affected by various concerns, including the aim of the dance. Since the dance will be performed to the community, the material will have to strictly follow sanctioned type and process. In cases of a narrative work of art, the plot obviously establishes the manner in which the dense substance is structured. The music will also establish the structure of this dance- the length, the treatment of subject matter and the organization of slow and quick movements (Janet 1988, p. 23). Conclusion Making and producing a dance for a live community performance requires joint efforts. The process will entail: collecting the movement material together, creating movements into expressions of dance, and developing the last structure of the dance. Reference List Alma, H., 1991. Moving from within: a new method for dance making. NY: Routledge Anne, B., Tarin, C., 1989. The intimate act of choreography. London: Oxford University Press Anna, H., & Rachel, K., 1995. Preview Moving toward life: five decades of transformational dance. London: Oxford University Press. Chris, J., 2006. The improvisation game: discovering the secrets of spontaneous performance. NY: Routledge Christopher, B., Joshua, S., & Jane, W., 2006. Navigating the unknown: the creative process in contemporary performing arts. Chicago: Kniff Doris, H., & Barbara, P., 1987. The art of making dances. NY: Routledge Estelle, B., & Barbara, B., 2010. Practice as research: approaches to creative arts inquiry. Loondon: Oxford University press Horton, F., 1996. Dance and the lived body: a descriptive aesthetics. NY: Routledge Janet, A., 1988. Dance analysis: theory and practice. NY: Routledge Jo, B., & Liesbeth, W., 2009. Preview Contemporary choreography: a critical reader. Chicago: Kniff Nick, K., 2000. Preview Site-specific art: performance, place, and documentation. London: Oxford Paul, C., 2001. Preview Art and embodiment: from aesthetics to self-consciousnessChicago: Kniff Spain, K., 2003. Reports from the inside of improvisation - in - Taken by surprise: a dance improvisation reader. London: Oxford Valerie, B., 2001. Dance, space and subjectivity. NY: Routledge Larraine, N., 2007. Dancing in utopia: Dartington Hall and its dancers. DC: Oxford Publishers Read More