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57 Cards in this Set
- Front
- Back
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What are the two arts that focus solely on using the body as a vehicle |
Dance and mime |
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What do you need to be a dancer |
Flexibility, strength, range of movement and balance |
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Body definition |
Body part isolation, this is done through exploring the motion of possibilities of every part of the body. Body parts include out of body parts include the limbs and torso and inner body parts. |
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What are locomotive movements |
Traveling through space with the body
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Types of locomotive movements |
Walk, run, skip, jump, hop, leap, slide |
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Space definition |
Essentially dance is a moving sculpture, the dancer creating images within space. |
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Shape definition |
Placing the parts of the body into positions in space either individually or in connection with other dancers or objects |
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Direction |
The direction a dancers body shape is facing in relationship to the audience when they are moving eg front back side |
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Levels |
The height of the dancers body shape in relation to the vertical space eg high medium low |
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Floor patterns |
The paths created by the dancers travelling through space eg straight or curved |
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Floor patterns |
The patterns made by the dancers on the stage to make the choreography intricate and interesting. Floor patterns are how you create your pathways |
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Time definition |
The greatest manipulator of dynamic in dance is through the use of time. Choreographers usually phrase movement sequences in relation to the rhythmic and tonal structure of the music known as the melody |
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Moving in the beat |
After establishing a steady pulse the dancers body moves in time to the underlying beat |
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Unison movement |
All dancers moving together at the same time to the established pulse or beat |
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Canon |
When the movement is one or more beats behind the previous movement |
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Half time or double time |
When one dancer is moving to the pulse and underlying the beat of the music. But the second dancer performs t twice the speed (double time) of the tempo and the third dancer moves twice as slow (half time) |
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Simple metered time |
This is when the underlying beat is the a crotchet 2/4 4/4 3/4 |
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Mixed meter time |
Irregular accents |
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What are the two aspects of time |
Tempo and rhythm |
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What is tempo |
Speed |
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What is rhythm |
Consist of a tempo and the overall duration and organisation of the music |
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Elements of music |
Beat, tempo, number of beats, measure-group of notes, time signature, nite values, simple meter, compound meter- where some simple meters are multiplied by 3, mixed metre, accents, syncopation, and musical phrase |
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Energy definition |
An exertion which initiates, controls and stops the movement. Energy can be expressed through varying intensity, accent, and quality of music. Changes of energy in movement arouse different feelings. |
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Intensity |
The magnitude at which energy is exerted |
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Accent |
Occurs when some stress of either greater or lesser force is usually exerted at a particular time. When an accent occurs regularly it creates balance and security, irregular accents can be disturbing and confusing. |
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Quality |
The way energy is used. The distinctly observable characteristics of movement such as swinging sustained vibratory and combinations of these |
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What is a choreographer |
Is a creator of dance. They manipulate movement to achieve their intent and create expression. Each choreographer is affected by their own point of view. |
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How do choreographers create movement |
Past experiences Driving ideas from previous stimuli |
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Types of stimuli |
Kinaesthetic Tactile Visual Ideation am Auditory |
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What is kinaesthetic |
This is where dance is about movement itself Eg single movement, shape or movement phrase becomes the kinaesthetic movement from which the dance is derived |
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Tactile |
When the dance is derived from feel or contact |
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Visuka |
Where the dance is derived from observations or perceptions |
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Ideational |
Where dance is derived from an idea |
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Auditory |
Where dance is derived from sound |
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Content |
The underlying significance or the central concern of the work resulting from the choreographers intent. |
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Nature of composition |
1. Intent 2. Stimuli 3. Abstraction 4. Improvisation 5. Evaluation 6. Selection and refinement 7. Motif |
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Form |
The shape sequence and organisational action. The plan for sequencing movement. |
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Sequencing |
Putting movements and phrases together into large units. What's the best transitions? What conveys the plot best? Etc |
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Compositional structure |
AB binary ABA ternary ABACADA Rhondo ABCD different sequence of movements |
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Theme |
Clear movement sequence that can be used as a basic structure for different variations |
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Cannon or fugue |
One or two themes or motifs are repeated or initiated by successive dancera |
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Narrative |
Each section is a further expression of an idea or story |
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Motif |
Is a single movement or phrase that is used as the source or spark for developing more movement |
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Repetion |
Repeating the movement |
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Retrograde |
Performing backwards |
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Reverse |
Reversing the movement |
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Inversion |
Reverse the movement |
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Size |
Condensing or expanding the movement |
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Tempo |
Changing the tempo of the movement |
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Rhythm |
Very the rhythm of the movement |
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Quality |
Changing the quality staccato, legato |
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Force |
Very the amount do force |
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Instrumentation |
Perform a movement with different body parts |
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Background |
Change the design of the rest of the body from its original position to repeat the movement |
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Staging |
Placing on stage |
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Embellishment |
Ornaments, the movements by adding an individual component to the original movement |
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Ch |
Ggh |
