VCE Dance - Unit 3&4 Exam Revision
Terms in this set (65)
The static and dynamic relationship of the skeleton to the line of gravity and base of support.
Principles used to develop ability to correctly align body parts in movement and in stillness, for example the integrated engagement of the muscles of the abdomen to create core stability to facilitate safe placement of the pelvis and spine thus enabling ease of movement and efficient use of energy through the torso, for example:
• lifted and supported use of the arches of the feet (to avoid pronation)
• appropriate rotation of the leg in the hip socket for the individual body (to allow for safe use of turn out)
• maintenance of the knee over the foot (to avoid hip, knee, shin and foot injuries).
The six actions of gesture, locomotion, elevation, falling, turning and stillness (GLEFTS).
All aspects of health and conditioning related to the dancer. It includes nutrition, hydration, use of safe environment, alternative training, preventative therapies, and general body preparation for dance classes and performances.
The sculptural design of one or more bodies in space. Body shapes are described as curved or angular.
A minor successive time difference. This may be one movement by two or more dancers (simple) or a phrase of movement put into canon (complex).
The individual/s responsible for the creation/composition of a dance work.
Tools of the choreographer used for the creation of dances such as compositional processes of abstraction, repetition, motif, addition, accumulation, inversion, distortion, retrograde.
To make larger in size or extent.
To focus on pure movement or design rather than plot, emotion, or character.
To gather, collect, or grow in a heap.
To add steps or phrases.
To twist out of shape, to deform, or pervert.
To add detail.
To add into the phrase.
To reverse the position of the body.
To take apart and reorganise.
To move backwards, have a backward motion or direction, or retreat to move or go.
To transfer to a different body part.
Includes the elements of movement, dance design, phrases and sections, unified composition, spatial organisation, and group structures.
The creation and composition of dances by inventing and/or arranging movements and patterns of movement.
A group structure where two or more people simultaneously dance differing movements. When all individuals perform different movements (simple), or groups of dancers perform different movements (complex).
Dance-making and performance processes
Processes that relate to either learning the dance work/s of another choreographer (learning, rehearsing, performing) or student's creating their own dance work/s (choreographing, rehearsing, performing).
Dance style is a specific category within a particular dance tradition which may be based on a smaller range of shared characteristics (romantic ballet within the classical traditions) or a particular choreographer's technique or a performer or choreographer's individual characteristics.
The height, width, depth of the shape in space and the personal shape and size of group arrangements in space.
Direction is the place in space towards which a body moves. Floor patterns are produced by locomotion or travelling patterns through the performance space. Floor directions can travel forwards, backwards, sideways, diagonally or in a circle. Axial movements can move upwards, downwards, diagonally, horizontally or circular.
Elements of movement
The three basic components of movement are time, space (including shape) and energy. These elements can be combined and manipulated in choreography to colour the movement and create expression.
The intention of the choreographer or reason for creating the dance. The origins of the intention may come from many sources including the choreographer's ideas, emotions, observations and exploration of movement itself.
The overall shape, organisation or development of a dance work. Formal structures provide the dance work with an overall structure; for example, binary, ternary, theme and variation, rondo, narrative and free form.
Focus is not just confined to the eyes. It also involves the use of the whole body focus to communicate the intention of the dance.
Arrangement of movement sections which do not fit recognised forms.
Dancers move through many different group shapes as they perform a piece of choreography. The choreographer creates these shapes by designing groupings, and by arranging dancers in ways that are balanced (symmetrical) or unbalanced (asymmetrical) to the eye.
The use of symmetrical and asymmetrical groupings of dancers and the use of movements performed with respect to space and time (unison, contrast and canon).
An aspect of height dimension which includes a variety of working levels from low to high.
The choreographer varies and expands movements through the manipulation of body actions, the elements of movements or group structures and spatial organisation.
A single movement or short movement phrase which has the potential to be developed into an integrated whole. A movement motif functions as an organising device within the choreography. It can contain the essence for the completed piece and is usually repeated with integrity and manipulated throughout the dance.
Movement creation processes
The methodology of creating movement, including improvisation, selection, arrangement, refinement and evaluation.
A range of movement skills which can be characteristic of a particular style, a combination of styles, or personal preferences for ways to use movement actions.
Rehearsal processes and skills
Processes and skills used to refine choreographed or learnt dance works prior to performance including development of movement memory, refinement of physical execution of movement vocabulary, phrases and sections, development of spatial accuracy and orientation, refinement of safe and appropriate technical skills, refinement of choreographed variations of time, space (including shape) and energy, refinement of body and eye focus, facial expression and projection through the whole body and refinement of communication of expressive intention.
Pre-performance processes and skills
Pre-performance processes and skills are used to prepare the dancer's body for execution of required technical and physical skills in performance including physical warm-up, mental preparation, visualisation, spacing of group dance formations and physical orientation in performance space.
Performance processes and skills
Performance processes and skills are used to communicate the expressive intention in performance including technical proficiency, knowledge and clarity of choreographed body actions, accuracy of choreographed timing, spacing and use of energy including qualities of movement, orientation in performance space, accurate and expressive execution of group formations, eye/body focus, facial expression and projection through the whole body.
The qualities a dancer contributes to a performance in order to create a connection with the audience and fulfill the choreographer's intent. Includes the use of focus, projection, stage presence, concentration, commitment to movement, expression and clarity of execution.
Personal movement vocabulary
Personalised preferences for the selection of movement actions and skills.
A partial dance idea composed of a series of connecting movements, similar to a 'phrase' in the written form.
Technical and physical skills
Movement skills such as alignment, coordination, balance, strength, control, flexibility, stamina and transference of weight (BFACCTSS).
A confident presentation of one's body and energy to communicate movement and meaning to an audience. It also refers to performance quality.
A section of a dance work consists of a number of related phrases linked together. A dance may consist of one or more sections. Sections are linked to form a structure for the dance work.
Use of direction, level, eye/body focus and dimension in solo and group dance works.
Technical and production aspects
Use of performance space, costume, lighting, set, properties, make- up, mechanical devices and/or digital resources.
A dance which has a unifying structure including a beginning, development/s and resolution.
Refers to all dancers performing the same movement simultaneously.
The elements of dance design are expressive intention, form, and movement vocabulary. These are all interrelated and provide a context through which the nature of a dance and it's communication capacities can be analysed.
Qualities of movement
The ways in which energy is released when movement occurs through time and space: swinging, sustained, suspended, percussive, vibratory and collapsing (SSSPVC).
Cultural influences on dance works
Cultural influences refer to the general beliefs and values of the time and place in which the dance work was created.
The range between firm/strong movements and light movements.
The range between fluent/free and bound movements.
Literal expressive intention
eg. Storyline, theme, specific character.
Non-literal/abstraction expressive intention
Based on theoretical concept, movement quality, observation, exploration of movement motif.
Movement creation processes
Improvisation, selection, arrangement, refinement, evaluation.
Spontaneous or unplanned movement.
To choose various movements that resulted from improvisation that reflect your intention.
To arrange the selected movements into phrases, and these phrases into sections, that provide a unified composition reflecting your overall intention.
To edit the selected movement vocabulary and refine the placement of phrases within the sections, and to commit the finished dance to memory.
To critically reflect on the process of composing, rehearsing and performing the dance work that expressed the original intention.