Fichas
Glossary
Fichas del conjunto (32)
- 1Physical Skills (ABCCFSSTOW)Alignment - the relationship between the head, shoulder girdle, spine and hips, knees and ankle joints.
Balance - the dancer’s ability to maintain the body in perfect equilibrium through effective awareness of the muscle activity.
Co-ordination - refers to the pattering of different body parts and their relationships.
Control - the ability to manage a variety of body actions with concentrated awareness of muscular activity in order to retain personal equilibrium.
Flexibility - the engaged joints ability to move freely through a range of movements.
Stamina - the maintenance of physical exertion or endurance executed throughout the phases of the dance.
Strength - the power which a dancer uses to execute various body actions.
Transference of weight - adjustments of weight and awareness of alignment principles when a dancer moves from balance. - 2Body Actions (GLEFTS)Gesture - a natural communicating movement of an isolated part of the body expanded in dance to include the whole body, locomotion and voice.
Locomotion - movement travelling from place A to place B in any manner and on any level.
Elevation - movement from one plane to a higher plane.
Falling - movement from one plane to a lower plane, such as a transition into the floor from kneeling or standing.
Turning - rotating the whole body or an isolated body part.
Stillness - the pauses between movement actions. - 3Muscle MemoryWhen the movement has been practiced and executed so many times that the body is able to perform the movement without conscious thought of how to do so.
- 4Unified CompositionA dance which has a beginning, development, and resolution / conclusion. The dance is structured around an initial intention, idea, motif, emotion, theme etc. The relationship between the three areas can be complimentary of contrasting.
- 5Dance DesignThe expressive intention, form and movement vocabulary within the dance (all interrelated).
- 6FormThe structure of the dance by selecting, refining, and arranging of movement phrases and sections into a unified composition.
The sensitive use of the elements of movement.
Binary - A B
Ternary / Sequential - A B A
Rondo - A B A C A
Theme / Variation - A A1 A2 A3
Narrative (Episodic) - A B C D E F… - 7Movement MotifA movement or small phrase that is repeated or abstracted to ensure the the expressive intention is portrayed and in a logical progression of the dance piece.
- 8Expressive IntentionThe central concern that guides the formulations of the dance. This can be compared with the content of an english essay; the purpose, idea, emotion and theme.
- 9Unified CompositionA dance which has a beginning, development, and resolution / conclusion. The dance is structured around an initial intention, idea, motif, emotion, theme etc. The relationship between the three areas can be complimentary of contrasting.
- 10Dance DesignThe expressive intention, form and movement vocabulary within the dance (all
- 11Movement MotifA movement or small phrase that is repeated or abstracted to ensure the the expressive intention is portrayed and in a logical progression of the dance piece.
- 12PhraseThe linking of two or more single movements. A sentence within a paragraph.
- 13SectionThe linking of two or more single phrases. A paragraph in an essay.
- 14Elements of MovementTime (DRMAPSS)
Space/Shape (SNPVDLTFALK)
Energy (FFQETE) - 15EOM - Time (DRMAPSS)Duration, rhythm and speed of a movement.
Duration - is a length of time expended through the movement or phrase.
Rhythm - is the repetition of time divided into equal or unequal units.
Speed (tempo) - is how fast or how slow a movement or phrase is executed.
Metre - is the division of the music score indicating the number of beats per minute.
Pulse - is the steady underlying, continuous beat.
Accent - is an additional stress and intensity applied to musical notes and accompanying movements.
Stillness - is the pauses between movement actions - 16EOM - Space/Shape (SNPVDLTFALK)The area given over for a dance making.
The body in its natural alignment, and the sculptural design of one’s body.
Shape - is the sculptural design of the body or group of bodies within the space.
Negative Shape - is the space around the body or the ‘nooks and crannies’ within the shape that gives the shape its design.
Positive Shape - is the body shape itself.
Volume - is the area of space encompassed by the boundaries of the chosen shape.
Dimension - is the size of the dancer’s personal movement shape.
Level - is an aspect of the height dimension and is the vertical plane on which the movement occurs.
Transition - it shapes us the way the dancer manipulates the weight to move efficiently and smoothly from one shape to the next.
Floor Pathways - are the design created by locomotor movement through space.
Aerial Pathways - are combinations of vertical and horizontal directions of movement of both the torso and appendicular parts of the body as they cut through space.
Kinaesthetic Awareness - is the dancer’s gradual gaining of that personal inner awareness of and sensi - 17EOM - Energy (FFQETE)The degree of expenditure of muscle tension and contraction in any movement action or in any sculptural shape.
Force - is the range between strong and light movements.
Flow - is the range between fluent and bound movements.
Qualities of Movement - (or energy actions) are suspended, sustained, swinging, percussive, vibratory, collapsing.
The Effort Actions - are to dab and flick, to float and glide, to press and wring, to punch and slash.
Tension - is the amount and intensity of muscle energy expended in any movement action.
Efficiency of Movement - is when the dancer knows the appropriate amount of energy that is needed to produce a quality movement action. - 18Qualities of Movement (SSSPVC)Refining of selected movement skills.
Suspended - the brief moment of pause between the upward and downward pull of gravity.
Sustained - continuous movement with no apparent stop and start between one shape and the next.
Swinging - the over-curves and the under-curves made by the arms, legs, torso or head as well as weight transference movements performed in a swaying rhythmical motion.
Percussive - these are quick, jerky, angular, staccato, checked and forceful movements that are of short duration and involve the use of periods of stillness between each new action.
Vibratory - rapid, recurring succession of small movements.
Collapsing - a sinking movement due to the release of muscle tension. - 19Choreographic Devices (ARMAAIDRRM)Application of the elements of movement, aspects of dance design, dance making methology, spacial organisation and group structures within a dance composition.
Abstraction - the process of altering the realistic appearance / features of the original inspiration whilst maintaining the ‘essence’ of the idea.
Repetition - a movement motif or phrase repeated exactly the same.
Addition - a new movement which is added to link the proceeding phrase. (Don’t discuss)
Accumulation - new movements that are added to existing movements in a successive manner.
Inversion - a process for manipulating a motif or phrase where the position of the body is reversed as the movement is performed.
Distortion - a process which manipulates the shape or structure of the phrase.
Retrograde - a motif or phrase performed backwards.
Rearrangement - when the movement is taken apart and reorganised into the desired order to create progression. - 20Group Structures (SAUCC)Two or more dancers interacting through the use of choreographic devices.
Symmetrical - balanced and even positioning of the dancers.
Asymmetrical - uneven placement of the dancers.
Unison - movement by two or more dancers which is exactly alike.
Contrast - two or more dancers performing at the same time yet executing different movements.
Canon - a minor time difference between one dancer’s movements, and another’s. - 21Spacial Organisation (DLDF)The arrangement of the dancer(s) within the performance area.
Direction - direction of movements of the dancer’s body parts.
Level - what plane the dancer is moving on; low, medium or high.
Dimension - the size of the dancer’s movements; small, medium or large.
Focus - eye focus (distance) or body focus (where the body faces) - 22Movement Creation Processors (ISARE)The use of the below…
Improvisation - a process of exploring movement possibilities that will forward the selected intention.
Selection - the selection aspect involves not only the choices of found movements but the ways these will suit the desired intention.
Arranging - the process of arranging phrases into selection creates unity within the whole dance.
Refining - during the refining process, attention to details of physical skills, interpretation, special arrangement and projection qualities will need to be addressed.
Evaluation - a process of creating as well as an assessment of the final product. - 23Warm up...Purpose…
- Ligaments and muscles are prepared for work.
- Flexibility increased of ligaments of muscles.
- Preparation of the muscles for output of strength.
- Get in touch with the body.
- Increase heart rate blood flow to muscles.
- Prevention - 24Cool down...Purpose…
- Allows the muscles and ligaments to recover.
- Allows the muscles and ligaments to stretch and gain increased range of movement.
- Allows the muscles to recover from an output of energy.
- Get in touch with the body.
- Decrease lactic acid build up in muscles.
- Decrease heart rate blood flow to muscles.
- Prevent injury - 25Alignment PrinciplesAlignment is the weight safely centred over a base of support in order to maintain balance.
- The centre of the knee should line up with the middle of the toes so that there in no inward (medial) or outward (lateral) rotation of the knees.
- The placement of the feet should match the rotation of the hip joint and knee joint turned out and parallel positions so that the thigh, shin and foot are aligned.
- The pelvis should not tilt forward (anteriorly) or tuck under (posteriorly) so that the alignment of the trunk over the legs is maintained.
- The natural curves of the spine should be lengthened and not hyperextended or “crunched” and the ribcage should be narrowed at the front and broadened at the back.
- The ankle bones should be vertically aligned so that there is no inward sickling (pronation) or outward rolling (supination) of the ankles and feet.
- On demi-pointe the forefoot, mid-foot and hind-foot should be aligned and all toes should be flat on the ground with equal weight distribution across the ball of the foot.
- The chin should not protrude forward or be tucked - 26RICERR- Rest
I - Ice
C - Compression
E - Elevate
R - Referral - 27Learning Processors- Imitation
- Repetition to reproduce the learnt work
- Discussion and explanation of the expressive intention
- Testing your movements with a partner
- Observation
- Breaking down and segmentation of the movements
- Understanding Safe dance practices relevant to the choreography
- Increase of muscular memory
- Notation
- Use of mirror - 28Rehearsal Processors- Practicing to refine the…
- Videotaping to refine the…
- Evaluation to refine the…
- Re-arranging to refine the…
- Feedback to refine the…
- Using the mirror to refine the… - 29Pre-performance Processors- Visualisation
- Marking up the Space
- Warm Up
- Mental Preparation
- Marking up the spacing of group formations in the performance space
- Physical orientation in the performance space - 30Performance ProcessorsAre the qualities a dancer contributes to a performance in order to create a connection with the audience and fulfil the choreographers intent. Each dancer will have a different way of communicating his or her performance to the audience.
- Focus: the concentration or transmission of energy or attention toward a specific person, object or location.
- Concentration
- Projection
- Stage presence: a quality defined by the performer’s ability to command the audience’s attention through projection, focus, magnetism, expression, confidence, etc.
- Commitment to Movement
- Emotion and Expression: it is important that a dancer takes a risk in exploring emotions and expression that are necessary to communicated the choreographic intent.
- Technical competence
- Clarity of Execution: a dancer needs to execute movements with clarity and finish the lines of each movement.
- Movement Memory
- Communication of E.I
- Interpretation of E.I - 31Artistry / Artistic ChoiceA dancer will begin to develop artistry in their dancing as they use more artistic choice in their technique and performances.
Artistic choice are the choices a dancer makes to instil a phrase with qualities that make her or him interesting to watch. These choices, when applied to the movement, give the viewer a sense for who the dancer is, or intrigue the viewer enough to want to find out who he or she is. It is an aspect of a dance performance that comes from the performer and is not dictated by the choreographer. - 32Systematic training.Systemic training is the dancer going through the correct routine of warm up, class in the correct order and cool down. It is how this ongoing systemic training improves dancers technical ability including things like strength, flexibility, control, stamina (basically any physical skill) overtime through regular technique classes.
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- (Exam) Dance Fichas sobre Glossary, creado por Sophie Lean el 01/11/2016.
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- Sophie Lean
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