Dance Improvisation and Composition Exploration of dance elements: Force- flow of energy and opposites

What movements are used in a dance are important. Another important part of dance is how those movements are performed. When we dance, we use energy. The more energy used to perform a movement, the stronger it will be. Force is the amount of energy used to perform a movement.

Warm-up: pass the energy

x Imagine you have a ball of energy in your hands. Feel its weight and size. x Move the ball around the space; follow it with your body. Pass it from one hand to the other

and throw it up and catch it.

Opposites

A movement can have a lot of energy (strong and hard movements) or a little energy (soft and gentle movements). Using different amounts of energy is a single movement phrase can be very interesting for the audience. In dance, this energy is called ‘force’.

Warm-up: opposites – sharp and smooth movements

x Lie on your back and make a big letter ‘X’ with your body. x Smoothly and gently curl into a little ball on your right side, feeling as though you are ice

cream melting on a hot day. The uncurl smoothly. x Repeat this, but curl into a little ball as sharply and quickly as you can, as though you’re a

tortoise tucking into its shell. x Then try curling up sharply and uncurling smoothly.

What is force?

Like space and time, force is an element of dance. Force describes how much energy a movement uses. Using different kinds of energy in your movements adds interests to a dance or a movement phrase. Movements can be sharp and jerky, or smooth and sustained like a flowing river.

Using force words to compose a movement phrase.

x Think of one simple movement. x Practise your movement until you know it very well. x Read the force words below. x Start with the first word, ‘melt’. Say the word as you do your movement. Can you make your

movement ‘melt?’ x Then move onto the next word. Melt – snap – ooze – explode – pop – whisper. x When you have a movement for each of these words, try linking all your movements

together.

Relationships to the floor, other dances and props

Relationships are another important element of dance. Remember, a choreographer uses the elements of dance to create a phrase of movements or a dance. The choreographer will consider the various relationships present as the dance is planned. When the dancers perform and practise, they must concentrate on the relationships the choreographer has included.

Relationship to the floor

A dancer also has a relationship with the floor. This type of relationship depends on the body base of the dancer at the time. At times the feet or knees are the dancer’s body base. At other times the dancer may be lying or rolling on the floor as part of a dance sequence.

Relationship to other dancers

A dancer has a relationship with other dancers with whom they are performing or practising. Dancers need to develop kinaesthetic awareness of other dancers and the space around them. You must be able to sense how close other dancers are to you and if you will be able to fit through a space between them if a dance move requires it. It is important to achieve unity in dance. Dancers need to work together as the dance may include jumps, lifts, or interwoven movements. If they do not work together and support each other, the dance will become confusing or the dancers might get injured.

Relationship to props

Props are objects that are used by dancers or actors to help tell the story. Props can be a part of a set, such as tables or chairs, or props can be objects that you can hold, such as a hat or a piece of fabric or a bunch of flowers. Besides using their bodies, dancers sometimes use objects or props to explore movement and space. Using an object can sometimes lead to an interesting idea that you wouldn’t have thought of without the object.

Interpretation and Performance Of Choral Verse Choral verse techniques

There are different types of choral verse speaking. One person can speak and the rest of the group joins in at a certain point like a refrain. Two people can share lines. The whole group can speak together at the same time. This is called speaking in unison. The class can be divided into two or more groups. Each group them speaks certain parts of the poem. This is called antiphon. When voices are added while the main group speaks, it is called cumulative choral speaking. Sometimes a person with a very strong or gentle voice can be asked to speak alone at certain times. These are solo lines. Variety makes a choral verse interesting to listen to.

Speaking in unison

The whole group can read the piece in unison. The important thing is unity. When a group speaks a phrase or word together, they must speak the words at exactly the same time. It sounds odd when you hear one word said after the rest of the group speaks the same word. The performers must listen to their cues and articulate the words very clearly.

Antiphon

The class can be divided into two or more groups, with each group speaking a different or even single words.

Using cumulative methods

create a refrain by letting one person speak most of the poem and the rest of the group the chorus or refrain. Let a person with a strong, clear voice speak solo lines. Add individual voices or groups of voices to create a cumulative effect.

Solo lines

A person with a strong voice speaks selected lines alone to create emphasis and variety. There are ways to distinguish between solo parts in a choral verse, such as standing on a higher level.

Sharing lines

Two or more people can share solo lines and alternate while they speak selected lines. Sharing lines is a common practise in choral verse, but both speakers must be sure to know their cues to speak.

Refrain

Create a refrain by letting one person speak most of the lines or poem and the rest of the group the chorus or refrain.

Listening and responding to cues

It is extremely important that all members of a choral verse work together and concentrate to make sure that they remember their parts. Everybody should know exactly what is expected of them. When should each person speak? Your cue is the last word or a word spoken by the person speaking just before it is your turn to speak. You must be alert at all times because the whole group’s performance is affected if one person misses his or her cue. Even if you do not have a solo part in the choral verse, listen very carefully. If you follow the lines in your head, you remain focused and feel the emotion all the time. Remember not to actually speak the words until it is your turn.

Vocal modulation and expression in harmony with others

The human voice can be changed by modulating it to sound different. Choral verse speakers should modulate their voices to create an interesting performance. Choral verse performers should project their voices so that the audience can hear every word. Before you begin to prepare the poem for the final performances, you should understand the poem. You should also understand how to modulate your voice to create an interesting and meaningful performance. The basic voice techniques are: diction, pitch, pace, pause, volume, emphasis, tone and rhythm. Each element should be worked on separately. Use all your senses to feel the words that you are saying.

Adding Movements

Group movement

When you read a poem, you become aware of the rhythm. The words create a pattern that is repeated. This is very much like the rhythm in music. If the members of the group stand in one place with their eyes fixed on one spot, it will be difficult for the audience to relate to the performance. By adding movement and sound you can create interest and make the performance more enjoyable. If you decide to add movement to the performance, the movements must be unified and add meaning to the performance. Listen to the rhythm of the poem. Try out some simple movements and gestures at first. The performers should look comfortable. Don’t forget that you are entertaining the audience. They need to enjoy the performance as much as you do!

Working as one

Each person in a choral speaking group must focus on working together as one unified group. This means that the performance must not stop and start. The words must flow so that the rhythm of the poem is not lost.

Using body percussion

Sounds that you make with your body can add interest to your performance. Clap your hands or tap your feet to the rhythm of the words. The movements and sound effects should be specific and very carefully timed.

Point of focus

Decide on what you want the audience to focus on. Don’t forget that your eyes also communicate along with the words. The group can look up or sideways at a solo performer to focus the attention of the audience. Speak louder when you want to emphasis words.

Reflection and feedback

During the rehearsal of a choral verse you need to continuously assess the progress of the group so that you can correct mistakes and improve on your performance.

Some tips to reflect upon:

x Relaxation is important. If you are tense, you create tension in the group. Shallow breathing will create tension in the muscles of the larynx. Your voice will be squeaky.

x Good breathing is important. You create the sounds that you make with your voice by exhaling from your lungs. Your breathing should be steady so that you can speak each phrase easily.

x Your voice must resonate in your body. When the audience cannot hear what you are saying, the performance will fail.

x Memorise the poem and make sure that you understand the meaning of all the words. x Understand your own emotions while speaking the words. Use your five senses and

pretend that you can smell, hear, touch and taste the words. x Be sensitive to other learners. Do not be impatient and critical of their faults. x Work together as a group to improve the performance together. x Record your performance and listen to what your choices sound like. x Practise the entrance and exit so that the group looks organised and confident on the

day.

Activites Emphasis

1. Read the following sentences below. Each time emphasis the word in bold. Notice how the meaning of the sentence changes. Will you come to tea on Monday? Will you come to tea on Monday? Will you come to tea on Monday?

Pace

1. Tell a story to your partner but change the pace as often as possible to make the story more interesting. You may use a story that you know very well. You can also make use of pitch and inflection.

Tone colour

1. Using the different kinds of listen below, read the following nursery rhyme: Angry sad bored excited a robot telling a secret Humpty Dumpty sat on a wall Humpty Dumpty had a great fall. All the king’s horses and all the king’s men Couldn’t put Humpty together again.

Dance Theory and Literacy Dance Terminology

Importance of spotting during turning movements

Importance of cooling-down

Talking about own and others’ dance work in class with sensitivity

Be sensitive to the following of others. Imagine that you are receiving the feedback, how would you want to be spoken to? Substantiate your opinion with visual facts – explain yourself. Do not get personal. You must keep it factual. You do not have to be the persons best friend to like their dance. Do not get jealous or disappointed – do not compare yourself to others. We are all good in some areas of dance and not so good in others. We all have our own unique way of expressing ourselves. Be encouraging. A good idea is to speak using a critique sandwich. This means that you say something positive in the beginning, then somethings that needs to be improved, suggesting how to improve it. You then end off by saying what you really liked about the dancer or dance.

Discussion of elements of dance

Space – shape, dimension, level, direction, pathways.

Time – duration, tempo, accent, phrases – using rhythm-steps, such as stamps, claps, body percussion.

Relationships – to the floor, other dancers, props.

Force – flow of energy, opposites

1. When would a dancer choose to use a small amount of force? 2. When would a large amount of force be appropriate? 3. What kind of characters would a dancer be portraying if he or she used strong and jerky

movements? 4. In your opinion which of the relationships, that the dancer has, is the most important? Give

reasons for your answer.

Careers The Writer

A play is written to be performed. The playwright comes up with an idea and shapes this idea into a script. Sometimes the playwright will workshop ideas with a group of actors before the script. A script is different from a novel because the characters speak all the words. A script is not a play until it is performed. Actors give life to a script. The writer will describe the setting of the play in detail and include stage directions and characters details to help the actor. The writer earns a living from royalties. The writer will get paid for every performance of his play.

The Director

The director oversees the interpretation of the play. The director sometimes chooses a play to be performed. Auditions are held to choose actors to play the roles. The director will hold rehearsals. At these rehearsals, the director will block the play. The director will make sure that the actors are working to a schedule so that the play will be ready for the opening performance. It is also the job of the directors to coach the actors to give their best performance. A director has to have a great deal of knowledge about the theatre. This knowledge will include lighting, sound, costume and make-up design, acting skills, history and theory of theatre.

The Producer

The producer is the person or organisation that wishes to present the play. It is the producer’s responsibility to pay for the production. The producer employs a director to stage the play. The producer gives the director details of what is needed. The producer is knowledgeable about theatre trends and is in theatre business. Pieter Toerien is a very important South African producer. His company producers many shows every year.

The Designer

The designer and the director will share ideas about the style in which the show will be performed. It is then the designer’s job to prepare the sketches of the ‘look’ of the show. Everything is a show must work in harmony. The costumes and make up suit the style. It is important that the designer makes sure that all the items on the stage are correct for the time period. For instance, you would not have a cell phone in a play set in 1980, as cell phones were not in use yet.

The Composer

In the professional theatre, some plays have music specifically written for them. In movies, music is also written especially. The composer is the person who is chosen to create the music. The composer needs great sensitivity in order to understand and convey the moods of the production and what the director is trying to achieve. The director will meet with the composer to discuss these things.

The Lighting Designer

The lighting designer creates the magic on stage. Once the rehearsals are over, the sets are built and the costumes are made, the lighting designer comes in to add mood and special effects through a lighting design plan that will also match the style of the production. The lighting designer needs to know the script of the play very well, including exactly what time of the day each scene takes place in. The lighting design must fit in with the script, and lends an added dimension to the performance.