Academic literature on the topic 'Choreographic sketch'
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Journal articles on the topic "Choreographic sketch"
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Krys, Andrii. "Compositional Features of a Choreographic Sketch." Bulletin of KNUKiM. Series in Arts, no. 36 (June 10, 2017): 77–85. https://doi.org/10.31866/2410-1176.36.2017.157681.
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The purpose of the article is to study and analyze the compositional features of a choreographic sketch; to examine the trends of formation of the principles of choreographic composition and production dramaturgy. The research methodology consisted in the organic combination of the basic principles of research: objectivity, historicism, multifactorness, consistency, comprehensiveness; to achieve the objectives of the research, the following methods of scientific knowledge were used: problem-chronological, concrete-historical, statistical, descriptive, logical and analytical. The scientific novelty of the work lies in the comprehensive analysis of the compositional features of a choreographic sketch and highlighting the main principles of composition and production dramaturgy. Conclusions. It was found that the uniqueness of creating a choreographic sketch as a small but complex independent story lies in the consideration of such components as ornamentality of dance, which makes the production meaningful and decorative; dance composition, which consists of dramaturgy, background music, choreographic patterns and angles. However, the top priority is the creative personality of the choreographer, their temperament, imagination, creative thinking, integrity of beliefs in setting the super-task, their courage to experiment for the sake of realizing extraordinary and innovative choreographic productions.
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Carbinatto, Michele Viviene, and Lorena Nabanete Reis Furtado. "CHOREOGRAPHIC PROCESS IN GYMNASTICS FOR ALL." Science of Gymnastics Journal 11, no. 3 (2019): 343–53. http://dx.doi.org/10.52165/sgj.11.3.343-353.
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To transcend the idea of objectifying the body and its movements in gymnastics and its technique-based sessions and/or classes, we propose some reflection on the artistic and aesthetic aspects of gymnastics for the Gymnastics for All (GfA) program. Officially guided by FIG (Féderation Internationale de Gymnastique), it is common that GfA composition includes group performances in festivals, whether they are competitive or not. This article describes the journeys of two GfA teams that developed practitioner-centered, not coach-centered choreographies supported by the stages of creativity proposed by Kneller (1973).More than learning/doing or even learning/memorizing coded, standard sequences, it is essential to explore possibilities of dialogue between the individual and the various elements that surround him/her, by establishing a parallel between GfA features and the creative, collaborative choreographic process in the Arts (Dance and Theatre). The coach’s egocentrism is redefined, and he/she is stripped of the choreographer’s role e. The choreography should be considered a sketch and should inspire constant change. It will be influenced by what spectators thinks of it, how it can inspire other artists, and how participants will feel fulfilled by it. There should be endless opportunities. Shaping movement and connecting actions gradually reveal the proposed theme and give rise to technique and aesthetics: that is the major challenge of the choreographic process.
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Pyzhianova, Nataliia, Serhiy Kutsenko, and Petro Voloshyn. "The role of folk dance in formation of the choreographer creative potential." Revista Amazonia Investiga 9, no. 27 (2020): 252–59. http://dx.doi.org/10.34069/ai/2020.27.03.27.
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The aim of the article is to substantiate the role of folk dance in the process of formation of the creative potential of a student-choreographer. Methods of generalization and comparative analysis were used in the research process. The article identifies three pedagogical conditions for formation the creative potential of students-choreographers by means of folk dance. It is pointed out that promising planning for professional growth plays an important role in formation the choreographers’ creative potential. The expediency of involving students in creative experiments, which include the creation of their own choreographic sketches in the middle of the hall, as well as training exercises near the machine, is substantiated. It is noted that students' sketch work in folk-dance classes is characterized by the study of choreographic sketches on the basis of dance vocabulary. The essence of separate types of students-choreographers’ independent work is revealed. The authors point out that the development of creative thinking, creative imagination and fantasy requires the application of a set of creative tasks based on improvisation. Attention is drawn to the need for the use of interactive and information technologies. Classes with the introduction of interactive and modern information technologies maximally stimulate student-choreographer’s cognitive independence and creative activity.
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Knyt, Erinn E. ""Just to Be , and Dance ": Jerome Robbins, J. S. Bach, and Late Style." BACH: Journal of the Riemenschneider Bach Institute 54, no. 2 (2023): 273–303. http://dx.doi.org/10.1353/bach.2023.a907243.
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Abstract: Jerome Robbins (1918–1998), known as the first important American-born ballet choreographer, set over sixty ballets and numerous pieces for Broadway during his lifetime. His success can be attributed not only to his assimilation of different choreographic styles, but also to his attentiveness to the music. He was equally adept at setting a wide variety of musical styles, ranging from Frédéric Chopin (viz., The Concert 1956), Leonard Bernstein (viz., West Side Story 1957), and J. S. Bach (viz., The Goldberg Variations 1971) to Alban Berg (viz., In Memory Of … 1985). If he excelled at realistic character portrayals in some settings, in others he created abstract visual realizations of the music. Although Robbins choreographed many musical styles throughout his career, he developed a special affinity for the music of Bach at the end of his life. It is notable that his final three new choreographies were all based on the music of Bach: A Suite of Dances (1994); Two& Three-Part Inventions (1994); and Brandenburg (1997). Moreover, Bach's music was the last that he heard before he died; the soft strains of a recording of Bach's French Suites reportedly filled the air as Robbins lay dying at his house on 81st Street in New York in 1998. Based on recordings, letters, essays, and other choreographic sketches, some unpublished, this essay examines Robbins's littlediscussed late Bach settings in relation to concepts of Late Style. While Robbins's settings of three final pieces by Bach might not be summative—that is, they might not be as epic, lengthy, and encyclopedic as his The Goldberg Variations from 1971—they can be seen as synthesizing a lifetime of choreographic styles, including ballet, modern dance, theater, and folk. Since they were all abstract realizations of Bach's music through movement, as opposed to narrative settings, Bach's music seems directly to have inspired Robbins's contrapuntal choreography. In turning to Bach for his final creative projects, Robbins was thus participating in certain ways of thinking about art that Edward Said has claimed can be associated with artistic Late Style, including counterpoint and fragmentation. In addition, aspects of the rhythmic energy and stylistic pluralism so central to Bach's music became muses for Robbins's multi-stylistic choreographies late in life, even as he displayed both nostalgia for the past and a newfound interest in youth and youthfulness. In drawing connections among the last works of Robbins, the music of Bach, and theories of Late Style, this essay provides one of the first explorations of concepts of Late Style in relation to choreography, an art form in which the aging body and the artistic work are closely linked. In addition, it contributes new knowledge not only about the late choreographies of Robbins, but also about movement responses to Bach's music, and ways in which Bach reception has intersected with characteristics of Late Style.
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Blades, Hetty. "Projects, Precarity, and the Ontology of Dance Works." Dance Research Journal 51, no. 01 (2019): 66–78. http://dx.doi.org/10.1017/s0149767719000056.
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Project-based work is common within “precarious” working contexts. Within contemporary dance, short-term funding opportunities often result in the production of “sharings,” works in progress, and one-off performance events. This paper considers the relationship between the outputs of projects and the ontology of choreographic “works.” Drawing on Frédéric Pouillaude's conception of choreographic works as both public and resistant, I examine entities produced through projects, which, borrowing a term from choreographer Hamish MacPherson, I label “work-sketches.” Furthermore, I reflect on the correlation between “immaterial labor” and the concept of the choreographic work, thinking through the commodity form of work-sketches and probing the relationship between socioeconomic contexts and dance work ontology.
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Syvokon, Yuriy. "THEORETICAL ASPECTS OF MODERN TEACHING OF CLASSICAL DANCE IN HIGHER EDUCATIONAL PEDAGOGICAL INSTITUTIONS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 201–5. http://dx.doi.org/10.36550/2415-7988-2021-1-195-201-205.
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The article presents an analysis of the methods of teaching classical dance as a backbone knowledge in the process of teaching students of choreographic areas of universities of culture. The main task of higher education in the field of choreography is the formation of a «complete» model of a graduate in the unity of performing and pedagogical qualities. At the same time, in the context of introducing standards for teachers, the main task of the training is the question «How to teach to dance?», which puts forward the tasks of scientific understanding of the teaching methods as an important condition for the formation of the pedagogical competence of future graduates. The main methodological setting of the research is the presentation of modern practice of choreographic education and teaching classical dance as a system in which all elements are conditioned and subordinated to performing and pedagogical tasks. The relevance of studying the methods of teaching classical dance in higher educational institution is determined by the conditions of the modern stage, which is characterized by the introduction of educational standards as an expected result of the quality of training of future choreographers; expansion of the nomenclature of profiles and directions of choreographic training; introduction of professional standards for teachers in the field of choreographic art. Classical dance at all stages of formation and development of choreographic education in universities is the foundation of training future professionals in the field of dance, a discipline that forms the performing practical skills and abilities of the dancer; «Lexical» basis of the future choreographer-producer, creator of choreographic combinations, sketches, compositions and performances; scientific and theoretical foundation of methods of teaching choreographic disciplines. The possibility of successful implementation of tasks in accordance with the requirements of modern educational standards of training students-choreographers in higher education is due, inter alia, reliance on internal prerequisites for development, which are determined by historical traditions of teaching classical dance methods A. Ya. Vaganova. XX – early XXI century. researchers stand out as the most important in the development of classical dance.
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Razvodova, Marina. "TRAINING-GAME AS A MEANS OF FORMATION OF CHOREOGRAPHIC SKILLS AND SKILLS IN YOUNG CHILDREN OF SCHOOL AGE." Academic Notes Series Pedagogical Science 1, no. 204 (2022): 226–31. http://dx.doi.org/10.36550/2415-7988-2022-1-204-226-231.
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In the article the author considers game technologies in the process of choreographic training of children of primary school age. Implementation of these technologies is a training game that allows to reveal and develop the creative abilities of children who are engaged in choreography and to form in them choreographic skills and abilities. The significance and components of the training game, its goals and possible results in the pedagogical process are determined. Implementation of theatrical training-play for children of primary school age during choreography promotes the development of cognitive processes; release from muscle clamps, which will allow children to learn about their body, its capabilities and freely control it; liberation from psychological clamps, compression, fear of expressing their creativity in motion; formation of a cohesive creative team, where joy for the success of others, mutual assistance, understanding, mutual support and collective creativity prevails; development of emotionality and expressiveness of movements; development of facial expressions. The development of acting skills during staging is easier and more productive, because the child, having acquired the necessary knowledge, practicing the basic acting skills in exercises and sketches, can realize their acquired acting potential in a particular choreographic number. In our opinion, it is expedient to organize the development of acting skills of young children in choreography classes with the help of a special training-game that combines pedagogical, theatrical and game techniques. For children of primary school age, play activities are quite relevant, so theatrical play training will be a natural form of its existence and development. Training helps children discover their potential and not lose themselves in the process of growing up, maintain openness and sincerity, purity and perfection of the child, understanding this world through love. The game method is dominant, as the game process facilitates the process of memorizing and mastering exercises by younger students, as well as arouses interest in classes. The components of theatrical training-game are considered, which reveal to some extent the acting abilities of young choreographers: 1. Games for the formation of a cohesive team and dance pairs are mainly represented by group games or games in pairs, which form in children collectivism, elbow feelings and responsibility for partners. 2. Games for the development of creativity and expressiveness. Games promote the development of a child's memory, develop the stability of voluntary attention, improve creative activity. 3. Games to remove psychological clamps. Exercises and games to relax different muscle groups – «Sausages», «Bird Trap», «Disco» – should be included in classes to remove muscle and psychological clamps in children. 4. Games to build confidence on stage. Аll this in a set of special techniques and elements of theatrical training-play, gives the young choreographer the opportunity to realize his acting skills on stage and, accordingly, the manifestation of a higher level of choreographic performance.
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Онофрійчук, Людмила, та Світлана Онофрійчук. "Педагогічні можливості мистецтва хореографії у творчому розвитку підлітків". Мистецтво в культурі сучасності: теорія та практика навчання, № 2 (18 грудня 2023): 18–24. http://dx.doi.org/10.31652/3041-1017-2023(2)-02.
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The article deals with pedagogical methods that ensure the creative development of adolescent students through the art of choreography. The importance of the art of dance in working with a children's choreographic group is determined. The article notes that the modern world is characterised by a focus on digitalisation and automation, but art classes allow you to experience personal emotions, which is important for modern students to feel and understand the beauty of the work done and transform its energy into creative achievements. The main problem of our research is to study the methodological and theoretical system of prominent Ukrainian choreographic teachers and the use of effective methods in the creative activity of future choreographic art specialists. The purpose of the study is to substantiate the pedagogical possibilities of choreographic art in the creative development of adolescent students in the study of classical, folk and contemporary dance. The determining condition for success in creativity is systematic, hard work that requires mobilisation of spiritual forces and maximum concentration. The harmonious combination of dance and pantomime, music and poetry, plasticity of movements and drama of a literary work into a single whole is an important factor for the aesthetic education of the individual, his or her creative development and value attitude to reality. The authors note that in recent years, the relevant disciplines have been increasingly introduced into educational institutions, performing a number of functions, namely: educational, cognitive, creative dialogue and co-creation, which significantly affects adolescents, increases their self-esteem, and promotes the need for self-development. It has been established that the art of dance is an integral part of the culture of the Ukrainian people, and Ukrainian choreographic art has its own powerful, original voice in the world of culture and art. The pedagogical innovations of our choreographers are widely known outside Ukraine, and they are known and respected in the world. The article highlights the pedagogical methods successfully used by contemporary teachers Radu Poklitaru, Larysa Tsvetkova and others in their work. These include methods of individual approach to each student, improvisation and experimentation, use of multimedia technologies, trainings, business games, situational tasks, master classes, problem-based learning, and creative forms of work (combinations, sketches). The experience of well-known teachers has shown that the art of choreography opens up a wide scope for the development of the creative potential of the individual, allows to introduce creative elements into dance education and upbringing along with performance practice.
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Ilchenko, Petro. "Creative Principles of Vasyl Vasyliev – Opereta Artist and Teacher." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 6, no. 1 (2023): 19–34. https://doi.org/10.31866/2616-759X.6.1.2023.276707.
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The purpose is to study the artistic and pedagogical talent of Vasyl Vasyliev (Vasyl Vasyliev-Humanyk) (1898-1987), an artist of the Kyiv State Theatre of Musical Comedy, Honoured Artist of Ukraine. The methodology of the study is based on the following scientific approaches: general historical (outlining the historical and socio-cultural context of the formation and development of the artist's creative personality); analytical (studying historiographical sources); the method of analogy (to establish the relationship of creative approaches similarity) and survey (collecting information in the form of a telephone interview); systematic (studying V. Vasyliev's creative activity in the unity of performing and pedagogical creativity); historical and biographical (determining the main stages of V. Vasyliev's activity for the sequence of events). Scientific novelty. The study is the first attempt to collect, systematise, and analyse the information found about V. Vasyliev's creative and pedagogical activities and to assess the master's contribution to the development of Ukrainian theatre art in the mid-twentieth century. For the first time, archival photographic materials were introduced into scientific circulation, which complemented the understanding of the artist's creative path. Conclusions. The multifaceted talent of V. Vasyliev made a significant contribution to the development of musical theatre in the twentieth century. The collected and analysed materials testify to the unique talent of the comic performer V. Vasyliev, which was clearly manifested in the embodiment of leading roles on the stage of the Kyiv State Theatre of Musical Comedy. V. Vasyliev was an unsurpassed master of creating realistic images on stage; the methodology of working on a role involved psychological analysis of the role, studying the motivation of the character's psychological state with the determination of individual psychological motivations for behaviour on stage. The peculiarities of the performing style include a realistic approach to creating stage images, a preference for the "school of pretence", a unique organic combination of dramatic vocal and choreographic performing talent on stage, wide use of external expressive means, the ability to improvise with a partner, and the accurate use of comic and sketch techniques. During ten years of cooperation with the training theatre studio at the Kyiv Operetta Theatre, V. Vasyliev proved to be an extraordinary teacher. In his work with the students, he successfully combined the methods of actor's work on the role, characteristic of both the "school of experience" and Stanislavsky's system, and the representatives of the "school of pretence".
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Boborykina, Tatiana A. "Crime and Punishment: Choreography of Text and Text of Choreography." Dostoevsky and World Culture. Philological journal, no. 3 (2022): 48–77. http://dx.doi.org/10.22455/2619-0311-2022-3-48-77.
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Here is analyzed Dostoevsky’s Crime and Punishment not as being translated into choreography, but from the point of view of Dostoevsky’s own “choreography” of visualized metaphors of movements, constituting the encoded text of the novel. In the article “choreography of text” means verbal description of various motions, gestures, and positions, whereas “text of choreography” means the way one could interpret their message. In other words, it means the reading of presented visible actions as another unwritten though indirectly expressed text. Dostoevsky often refers to visuality and instead of words he describes silent movements. These movements are symbolic, and they silently speak of inner experiences, emotions, and thoughts, presented in a form of clearly visible events of the external world. A “sketch” to Crime and Punishment from the point of the “choreography of text” in the context of Raskolnikov’s doubleness is The Double, in which the whole fifth chapter is a recording of a complex, dynamic “dance” of bifurcation. Like the story, the novel concerns the inner life of the main character, the difficult path of one Raskolnikov to the other. This metaphysical path is shown as physically existing, and contradictory movements of the hero’s soul gain visibility while going through it. It seems the writer truly possesses not only the art of the words but also the one of choreography and can speak about the most essential things using body language. Sometimes the culmination points of the leading message of the novel are expressed in short but deeply symbolic words, and at times they are rather shown than spoken. Considering that the actual meanings of the text are not lying on the surface, but are concealed behind symbolic words and movements, these details require close attention and a thorough analyses which the essay is dedicated to.
Books on the topic "Choreographic sketch"
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Ballinger, Lizzie. Trish Arnold. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350264595.
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‘All you have is yourself, no words, no script in hand, no music to dance to, nothing to hide behind. It was just me – the pure expression of my desire.’ Trish Arnold (1918–2017) was a pioneer in the field of movement. Her work stands alongside that of movement practitioners such as Litz Pisk, Jacques Lecoq and Rudolf Laban in its influence on international theatre, film and drama-school training. Until now, her practice has never been written down in its entirety, but has been passed from body to body, through one-to-one teaching between movement practitioners. Lizzie Ballinger’s intimate and groundbreaking book provides the first full exploration of Arnold’s movement training for actors, focusing on the context, practice and evolution of Arnold’s work, and its legacy in theatre-making today. Beginning with Arnold’s journey into theatre from a dance background, Ballinger describes her own mentorship with Movement Director and Choreographer Jane Gibson, Arnold’s first mentee, and provides a detailed and honest reflection on how she learned to teach this work. Supplemented throughout by beautiful illustrations of her movements, alongside Arnold’s original notes and sketches, this book gives a clear and concise explanation of how to embody Arnold’s movements.
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Iddon, Martin, and Philip Thomas. John Cage's Concert for Piano and Orchestra. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938475.001.0001.
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The book is a comprehensive examination of John Cage’s seminal Concert for Piano and Orchestra. It places the piece into its many contexts, examining its relationship with Cage’s compositional practice of indeterminacy more generally, the importance of Cage’s teacher, Arnold Schoenberg, on the development of his structural thought, and the impact of Cage’s (mis)understanding of jazz. It discusses, on the basis of Cage’s sketches and manuscripts, the compositional process at play in the piece. It details the circumstances of the piece’s early performances—often described as catastrophes—its recording and promotion, and the part it played in Cage’s (successful) hunt for a publisher. It examines in detail the various ways in which Cage’s pianist of choice, David Tudor, approached the piece, differing according to whether it was to be performed with an orchestra, alongside Cage delivering the lecture, ‘Indeterminacy’, or as a piano solo to accompany Merce Cunningham’s choreography Antic Meet. It demonstrates the ways in which, despite indeterminacy, the instrumental parts of the piece are amenable to analytical interpretation, especially through a method which exposes the way in which those parts form a sort of network of statistical commonality and difference, analysing, too, the pianist’s part, the Solo for Piano, on a similar basis, discussing throughout the practical consequences of Cage’s notations for a performer. It shows the way in which the piece played a central role, first, in the construction of who Cage was and what sort of composer he was within the new musical world but, second, how it came to be an important example for professional philosophers in discussing what the limits of the musical work are.
Book chapters on the topic "Choreographic sketch"
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Maar, Kirsten. "Szenarien des Entwerfens." In Bewegungsszenarien der Moderne. Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-11.
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The contribution aims to look at the figure of the scenario as a format directed toward the future, which introduces into the choreographic process the potential agencies of singular materials and media, procedures and practices. On the one hand, the scenario connects to the context of its emergence and on the other, it emphasizes the unpredictable which occurs within the relationality of singular agencies and their assemblages. The various practices of scenography open up the spatial dimension of choreographic assignments and their negotiation within the occurring arrangements. To examine these different ideas and link them to each other, the essay looks at William Forsythe’s ‚Human Writes‘ and explores the concept of his choreographic objects as a mode of expanded choreography, as well Meg Stuart’s ‚sketches / notebook‘ as an interdisciplinary ritual.
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Pakes, Anna. "Are Dance Works Real?" In Choreography Invisible. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199988211.003.0007.
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The chapter considers whether dance works, if they are norm-types, are creatable given that types are conventionally understood to be eternally existing abstracta. It explores whether an account of dance creation as discovery is plausible, critically examining the adaptability to dance of Julian Dodd’s defence of a Platonist ontology of musical works. Problems Dodd raises concerning the putative creatability of indicated types prompts discussion of alternative views, including Amie Thomasson’s arguments that multiple works are abstract artefacts. The chapter critically considers also a simple nominalist view of dance works as sets of performances, and sketches a fictionalist ontology of dance works (following Andrew Kania’s similar discussion of musical works). The fictionalist leanings of some dance discourse critical of the idea of the work is highlighted, and a claim made for the reality of dance works as social objects.
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Winkler, Kevin. "City of Women." In Everything is Choreography. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190090739.003.0005.
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Two consecutive projects confirmed Tommy Tune’s vision and versatility. In 1981, Tune directed the American premiere of Caryl Churchill’s Cloud 9, his first non-musical. This “comedy of multiple orgasms,” as it was billed, featured a first act set in colonial Africa in 1880 and a second act in contemporary London a century later. Tune staged the first act with sketch-comedy speed and vaudeville humor, as the characters played out their sexual frustrations and transgressed boundaries of race and class. Once again, he used performance tropes of earlier eras to communicate a contemporary viewpoint. His direction of the second act was more somber and thoughtful as the characters, liberated from patriarchal oppression and allowed to express their sexuality freely, search for meaningful connections. While Cloud 9 was enjoying a long and successful run off-Broadway, Tune embarked on Nine, based on Federico Fellini’s film 8½, about a celebrated but creatively stalled Italian filmmaker. Tune insisted that the show be peopled by an all-female cast surrounding the filmmaker. On a stunning white-tiled spa setting made up of stationary boxes, the women—each dressed in black—were summoned from his mind and memories to comment upon and take part in the action. With Nine, Tune established a pattern of staging an entire show around a stationary obstacle (in this case, the boxes)––an obstacle he consistently overcame through imagination and daring. Nine was a stunning directorial achievement that solidified Tune’s stature as a creative mastermind of the Broadway musical.
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Aloff, Mindy. "Of Steps and Their Authorship." In Dance Anecdotes. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195054118.003.0002.
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Abstract The Dying Swan (Le Cygne) This famous ballet solo, created in St. Petersburg in 1905 by Michel Fokine for the young Anna Pavlova, has been danced by many ballerinas around the world, each of whom has changed or adjusted the choreography to her technique and temperament. Indeed, as early as the mid-1920s, Fokine, by then permanently transplanted to the West, published an official version of the choreography, a “detailed description of the dance,” accompanied by thirtysix photographs of Vera Fokina demonstrating the ballet’s key sequential poses (J. Fischer and Brother, New York, ca. 1925). This document would not have been available to the Soviet ballet companies that preserved the solo as a ballerina vehicle, which would account for Kirov-trained Natalia Makarova’s assertion below that Fokine had really provided only a sketch of the steps for Pavlova, when, as his description makes clear, he had also set specific poses and a dramatic throughline—elements from which Pavlova herself may have departed over time. Still, Makarova’s account of learning the dance (which she performed beautifully on her own terms) and of its tradition in Soviet Russia conveys an excellent example of how choreography is transmuted—and, sometimes, radically altered—in order to serve the varying gifts of individual performers:
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Lindberg, Julianne. "Rodgers and Hart’s Boldest Venture." In Pal Joey. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051204.003.0003.
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One of the crowning jewels in Rodgers and Hart’s post-Hollywood partnership, Pal Joey was purportedly their favorite show together. By the time of Pal Joey, Rodgers and Hart had written over thirty musicals together and had standardized their working process. This chapter traces the progress from bold idea to finished score, with attention paid to revisions, additions, and other subsequent changes as the score moved from sketch, to previews, to the Broadway premiere. This chapter also looks closely at the collaborative process, giving due credit to the other members of the show’s creative team, including John O’Hara, producer/director George Abbott, and choreographer Robert Alton.
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Barrios, Richard. "Tiffany’s." In On Marilyn Monroe. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197636114.003.0008.
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Abstract Now a full-fledged star, Monroe was cast in one of her defining roles: Lorelei Lee in Gentlemen Prefer Blondes. As directed by Howard Hawks and choreographed by Jack Cole, Monroe and Jane Russell shone in both the comedic and the musical sequences. With “Diamonds Are a GIrl’s Best Friend,” Monroe moved from star to icon. Fox quickly put her in another high-profile role in the CinemaScope comedy How to Marry a Millionaire, and again she proved herself a deft performer as well as a magnetic screen presence. She closed out the triumphant year of 1953 with her only “dramatic” television appearance, in a sketch on The Jack Benny Program.
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"The Colorado." In Acting with the World. Duke University Press, 2025. https://doi.org/10.1215/9781478060499-005.
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This chapter examines an extended example of poiesis, an ecosystem restoration project on the Colorado River. Poiesis appears here as a process of experimentation and adaptation centered on dances of agency between dam operators and the river’s ecosystem, leading to a regular choreography of agency synchronizing the actions of dam operators and rivers. The chapter reviews function of scientific modeling and a cybernetic analysis of this example is sketched out.
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Baird, Bruce. "Amagatsu Ushio and Sankai Juku." In A History of Butô. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197630273.003.0012.
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This chapter tracks the career of the most internationally successful butô artist Amagatsu. Sankai Juku performed in over 700 cities in more 47 countries around the world. The chapter starts with their first major dance, Kumquat Boy, in order to sketch a starting point for choreographer Amagatsu Ushio after he split from Dairakudakan. Then the chapter switches to dances created in Paris and seeks to describe what made their performances appealing to so many people. Part of their success lay in tapping into an Orientalist fascination with Japanese religion and thought. They benefited from an association with New Age thought and music. They were also exploring the same issues as the other butô choreographers, such as nature, universality, and the place of the body in the world. Specifically, the chapter explores the ideas of Amagatsu with a special emphasis on his idea of dialogue with or synchronization with gravity and the lowest possible effort. Featured performances also include Homage to the Cord Pattern Era (also called Homage to Prehistory or Jomonsho, 1982), Egg Heat: From/Starting with Standing an Egg (Unetsu, 1986), and Kagemi: Beyond the Metaphor of Mirrors (2007).
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Meisner, Nadine. "Russian Debut." In Marius Petipa. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659295.003.0004.
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This chapter begins with Petipa’s arrival in St Petersburg and his first roles and productions there. It examines the structures of the Imperial Ballet and the directorate of the Imperial Theatres, especially the incumbent director Alexander Gedeonov. It describes the influence of the visits of Marie Taglioni, icon of the Romantic Ballet, and sketches the career of St Petersburg’s own ballerina, Elena Andreianova, who was often partnered by Petipa. It covers the appointment of Jules Perrot, choreographer of Giselle, as first ballet master, and of Jean Petipa, Marius’s father, as a teacher at the school. The arrivals of the celebrity ballerinas Fanny Elssler, Carlotta Grisi, and Fanny Cerrito are also covered, as is the effect of the Crimean War. There is also a lengthy section focusing on the subject of Petipa as a performer, outstanding in character (national) dance and mime.
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Steinberg, Michael. "Igor Stravinsky." In Choral Masterworks. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195126440.003.0024.
Full textAbstract:
Abstract Stravinsky made the first notations for this music in June 1914 and finished the sketch score on 11 October 1917. The scoring underwent several radical changes, and the first performance of parts of the four extraordinarily interesting preliminary and abandoned versions of the first two tableaux took place at Harvard University on 12 August 1968 under the direction of Claudio Spies. Looking at my now-somewhat-tattered program, I see that the orchestra list for that concert includes the then–twenty-one-year-old future composer John Adams, here playing clarinet. The first complete performance—or as complete as possible—of the 1917 version was given on 11 February 1973, Robert Craft conducting. Stravinsky decided on the final scoring in 1921 and completed the work in Monte Carlo on 6 April or 5 May 1923, depending on whether you prefer to believe the note in the published score or the composer’s letter of 6 May 1923 to his publisher. The first public performance, preceded by a private hearing at the house of Princess Edmond de Polignac, was given on 13 June 1923 in Paris by the Ballets Russes, and the score is dedicated to Serge Diaghilev, founder and director of that company. Ernest Ansermet conducted, the choreography was by Bronislava Nijinska, the sets and costumes were by Natalia Goncharova, and Felia Dubrovska and Leon Woizokowski danced the roles of the bride and groom. The pianists were Marcelle Meyer, Édouard Flamand, Georges Auric, and Hélène Lyon.
Conference papers on the topic "Choreographic sketch"
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Moghaddam, Elahe R., Javad Sadeghi, and Faramarz F. Samavati. "Sketch-Based Dance Choreography." In 2014 International Conference on Cyberworlds (CW). IEEE, 2014. http://dx.doi.org/10.1109/cw.2014.42.
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