Choreography Rehearsal ⋆

Abstract. We propose a methodology for statically predicting the possible interaction patterns of services within a given choreography. We focus on choreographies exploiting the event notification paradigm to manage service interactions. Control Flow Analysis techniques statically approximate which events can be delivered to match the choreography constraints and how the multicast groups can be optimised to handle event notification within the service choreography.

A Trilogy of Modern Solos; Reflecting on Traveling Through Europe and the U.S.

My Senior Project, A Trilogy of Modern Solos, was performed at Ohio State's Department of Dance Senior Concert and explored reflections from my travels and future aspirations in modern dance performance. The trilogy included one self-choreographed solo, one solo choreographed by London-based artist Beatrice Bernstein, and a repertory solo from a Chicago based company Deeply Rooted. This project led me to a greater knowledge of the responsibilities and skillsets needed to cultivate solo performances and this project demonstrated the type of work I intend to perform as a professional dancer.OSU Department of Dance Undergraduate Arts Research ScholarshipNo embargoAcademic Major: Danc

I Can’t – I Have Rehearsal: Rehearsal Guidelines and Techniques with Fight Scene Work

The rehearsal process often contains excitement, uncertainty, and, at times, stress for all involved. It is at this stage of the process where the culmination of skills acquired (research, character study, and embodying choreography) all come together. The following guidelines and techniques are aimed toward helping the actor address and conquer both acting and fight needs during the rehearsal proces

Moveable worlds/digital scenographies

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ Intellect Ltd 2010.The mixed reality choreographic installation UKIYO explored in this article reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative crossovers between movement languages, innovative wearable design for interactive performance, acoustic and electronic sound processing and digital image objects that have a plastic as well as an immaterial/virtual dimension. The work integrates various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The ‘Moveable Worlds’ in this essay are also reflections of the narrative spaces, subtexts and auditory relationships in the mutating matrix of an installation-space inviting the audience to move around and follow its sensorial experiences, drawn near to the bodies of the dancers.Brunel University, the British Council, and the Japan Foundation

Dance Theatre \u2788 (1988)

Music: Various Choreographers: Various Academic Year: 1987-1988https://scholarworks.sjsu.edu/productions_1980s/1043/thumbnail.jp

Rehearsal Injuries in Soft-Soled Character Shoes: Injury Rate of Female Collegiate Dancers Wearing Soft-Soled Character Shoes with 2.5 or 3.0 Inch Heels in Musical Theatre Rehearsals

High-heeled shoes (HHS) have been known to present biomechanical imbalances in lower-leg mechanics at the pedestrian level, but have not been thoroughly studied in the context of highly dynamic movement, such as dance. In order to analyze the effects of 2.5-inch and 3.0-inch soft-soled character shoes (CS) worn by female collegiate musical theatre dancers during rehearsals, selected subjects completed a written questionnaire, the star balance excursion test, and a heel raise test. It was predicted that both heel heights would promote irregularities in subjects’ sense of balance and lower leg stamina, while 3.0 inch CS would cause greater rates of injury overall. The resulting data showed that while there was no difference in the number of reported injuries among subjects wearing either 2.5-inch CS or 3.0-inch CS during rehearsals, there was less range of motion (RoM) and stability observed in 3.0-inch CS. The median number of heel rises from the heel raise test was approximately 10, showing a wide range of strength and stamina among subjects individually. Additionally, only 35% of subjects reported warming up in CS before rehearsals, and 13% reported cooling down after dancing in rehearsal. These results indicate a great need for supplemental strengthening for dancers, as well as the development of a comprehensive warm-up and cool-down aiming to prepare dancers to effectively wear CS for extended periods of time and continue to counter potential injury

A Study of the Choreographer/Composer Collaboration

This paper examines the working relationship of composers and choreographers in modern dance with attention to basic processes, barriers, and opportunities that characterize their collaborations. The paper draws its conclusions from a series of informal interviews and group discussions with musicians, choreographers, producers, presenters, and critics held at the 2000 Bates Dance Festival, as well as from the author’s own experience as a composer. By outlining a brief history of music in modern dance and dance education, along with identifying the ways in which projects combining the two genres are initiated, the author identifies the historical and institutional contexts for the experiences of his informants. Basic scenarios for collaboration are defined and the opinions of participants examined regarding the perceived advantages and disadvantages of each type. Finally, the author suggests ways to overcome some of the existing barriers between composer and choreographer, music and dance, exploring how the structure of the world of modern dance influences artistic production.