Different kinds of pieces are used and put together to create a whole organic unity. Now, to improvise this way in the search for movement, imagine that composing dance is like assembling a puzzle. This is from an abstract perspective, without the need of subjects, images or external inspirational themes. Since the beginning of the XX century and thanks to Rudolph Laban, modern and contemporary dance use some conceptual tools that allow us to generate movement by the exploration of some of its own basic components: BODY, SPACE and TIME. If you know another great composing method, we’ll all be glad to hear about it. The following text is the description of a possible way of composing choreography. Every choreographer has her/his own goals and interests and every project usually demands its own methodology. There’s really no better method or composing strategy. Now, there are as many ways to compose, as choreographers (or even projects!) exist. Improvisation before composing usually leans on ideas, music or any kind of associations referred to the piece that is being created. Click here if you want to read an article about Improvisation as an independent art form on stage). I’m only talking about improvisation as a part of dance composition, because this last one is the subject of this page. (Dance improvisation on stage has a different purpose and is another big independent topic. We use it with the intention of developing innovative movement ideas and generally as the first step in the dance composition process. In contemporary dance, one of the most common methods for producing that first content of choreography is the practice of improvisation. To do that, we need first to have some choreographic fragments to work with. When we talk about dance composition, we mean that we choose a choreographic material, we arrange it according to an aesthetic idea or project and we fix it.
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