Dance Choreography

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RESEARCH PROJECT SUBJECT TITLE: Choreography

TOPIC: Choreograph two dances in the school musical, High School Musical

ASSESSMENT TYPE 1: FOLIO

PROPOSAL

RESEARCH DEVELOPMENT

Weeks 1-4: (Background Research)

• Plan for the year. Background research – history of choreography

• Send letter to Kenny Ortega and Mia Michaels in America

• Analyse DVDs of musicals, Grease, High School Musical, Centre Stage, Bring It On Fringe and Festival Performances

• Research copyright laws and copying exact moves from the movie

Weeks 4-10 (the audition process)

• Send email to VN about auditioning techniques

• Interview ET, ST, AP about auditioning experiences

• Interview BS about how she selects dancers for musicals she choreographs

• Choreograph audition dance and get feedback

• Interview MB about what inspires her choreography

Weeks 10-11

• Teach audition piece and select dancers

• Weeks 12-14

• Research famous choreographers and how people learn

Weeks 11-14

• Choreograph dances to teach at the musical camp

• Attend camp and teach dances and rehearse them

Weeks 15-20

• Continue rehearsals and polishing performances

• Discuss my ideas for costumes for the dancers

• School Musical Performance

BACK GROUND RESEARCH ABOUT CHOREOGRAPHY AND CHOREOGRAPHERS
(and my annotations in blue)

Kevin O'Day: starting at the top - choreographer and dancer

Kevin O'Day, the redheaded dancer so familiar to us from his distinguished tenure with the company of Twyla Tharp (he toiled there eight long years), his duties as soloist with American Ballet Theatre, and his current membership in Mikhail Baryshnikov's White Oak Dance Project, has made a bravura leap into the tenuous, difficult world of choreography and emerged a winner.(makes me realise that choreography isn’t easy, and not everyone succeeds, not even experienced dancers) With astonishing aplomb, O'Day, at thirty-two, seems to have sprung full-grown into the arena of making dances, forging a vocabulary that while tinged with influences nevertheless shapes movements and phrases at once formal, musical, inventive, and genuinely felt. (realise my choreography will probably show influences from teachers I have had) That his choreographic gifts should have made themselves evident within the span of less than a year, and through only two brief works, each under a distinguished aegis, is a tribute to his finely honed dance sensibilities and to the eyes and minds of his champions, Baryshnikov and Peter Martins. Indeed, so strong was their belief in O'Day's talent and so positive was the audience and critical response to these fledgling works that both directors instantly commissioned new works for their respective companies. (shows that if people believe in you and guide and support you the choreography can become amazing. Also if something is so spectacular your work can get noticed and take you far) On February 9. O'Day's second work for New York City Ballet (still untitled at press time) will be premiered. It is set to a score by the young English composer Graham Fitkin. Last December in Tokyo, White Oak unveiled O'Day's The Good Army, to music of John Lurie of the Lounge Lizards, with Baryshnikov as one of its dancers. This uncommon whirlwind of choreographic success (success is hard and uncommon!) all began in March 1994, when the White Oak Dance Project gave its first New York season at the New York State Theater. There was no question that O'Day's first ballet. entitled Quartet for IV (and sometimes one, two or three ...), was the unqualified hit of the company's first New York appearance. While several pleasures were garnered from Baryshnikov's small troupe, not the least being his own masterly and immaculate performances, the company's repertoire was short on...
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