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Tutorial overview

These composition tutorials provide you with practical examples that apply to manipulating the elements of dance.

Tutorial 1 focuses on the element of space. Tutorial 2 concentrates on the elements of time and dynamics.

There are questions that will assist you to focus on how you have used these elements in your own composition.

Tutorial 1

Using space in a phrase

In order to do this first tutorial, review the elements of dance > space in composition.

Read these, then view and read the descriptions of the shapes and video, then answer the questions.

This is a phrase from a work that has an intent related to remembering childhood. Four shapes in the phrase have been identified as key to interpreting the intent in this phrase.

The descriptions include areas in a performance space.

Key to performance space areas

Stage space

Upstage prompt = USP

Downstage prompt = DSP

Upstage opposite prompt = USOP

Downstage opposite prompt = DSOP

Upstage centre = USC

Downstage centre = DSC

USOP USC USP

Centre stage

DSOP DSC DSP

Audience

Task: a) Observe the use of space in key shape #1.

Direction

The body is largely facing the USP corner.

Level

Low level (floor)

Shape

Dancer kneeling on the floor, facing the USP corner, with her back to the audience.

Torso inclined to the right.

Right forearm is hinged at the elbow, creating a right angle between the forearm and the upper arm.

Lower right arm is a right angles to the direction of the knees.

The left arm reaches toward the USOP diagonal.

Generally the shape faces diagonally USP corner with her back to the audience.

Dimension	The lower body is cramped into a small space. The upper body is more open.
Personal space	The lower body is enclosed, upper body is reaching upward and backwards.
Active Space	USP corner.
Stage space	USP corner. This is one of the strong areas of the proscenium arch stage as it is the focal point where the back wall and the right wall converge creating a vision funnel.

Analysis of key shape #1

Low level, back to the audience.

Contrast between upper and the lower body alignment and use of space.

Twisting, reaching backwards and upwards; in apparent opposition to the general level and direction.

Possible interpretation

Looking backwards.

Being drawn backwards.

Generally introspective but searching or reaching (placement of the torso in relation to the rest of the body).

b) Key shape #2

Direction

Facing USP corner.

Level

High level (hopping).

Shape

Torso upright.

Right leg stretched.

Left leg hinged at the knee at a right angle.

Arms held in second position.

Arms hinged at the elbows (circling).

Focus on the corner.

Dimension

Tall (hopping action).

Wide circling arms.

Personal

space

Expansive (lower to higher, as well as hopping).

Wide (circling arms).

Active

space

USP corner.

Stage

space

USP corner, which is the area of strength, but the focus to the corner also, contrasts with this strength (focus is towards the funnel, and moving closer to it rather than away from it).

Analysis of key shape #2

High level shape.

Circling arms.

Hopping.

Back to the audience.

Area of strength in the performance space.

Possible interpretation

Links to the opening position.

Shutting out the audience.

Moving away from the stronger influence at the opposite end of the diagonal. (DSOP).

Child-like game.

c) Key shape #3

Direction

Facing USP corner.

Level

Low–mid level (kneeling lunge).

Shape

Very angular and asymmetrical.

Supported on hinged right knee, lower leg to the floor.

Left leg bent and turned out, left foot on the floor, directed towards the USP corner.

Torso is bending from the waist (narrow plane) towards the left USP corner.

Sympathetic alignment of head, shoulders, torso, left & right arms.

Both arms reach towards high DSP corner, which is opposed to the head, torso and left leg, which are directed and focussed low to the USOP corner.

Dimension

While the shape is at a low–mid level, the expanse of the shape is created in a narrow plane along the diagonal (DSOP to USP).

The dimension suggests length and high to low.

Personal

space

A narrow, but elongated shape, which is in sympathy with the diagonal line.

Active

space

The diagonal between DSOP to USP.

Stage

space

DSOP corner which is an area of strength.

The diagonal between DSP and USOP, which travels through three areas of strength.

Analysis of key shape #3

Low–mid level.

The shape reaches towards two opposite directions:

· low towards USP corner.

· high towards DSOP corner.

Opposition between the focus of the head, torso, legs and the reaching arms.

Possible interpretation

Reaching towards a goal or memory or force, but at the same time being held or pulled back, or resisting a force or attraction represented in the DSOP corner.

d) Key shape #4

Direction	Facing DSOP corner.
Level	Low level.
Shape	On right side, on the floor, roughly along the diagonal line DSOP to USP.
Dimension	While the shape is at a low–mid level, the expanse of the shape is created in a narrow plane along the diagonal (DSOP to USP). The dimension suggests length and high to low.

Personal

space

A narrow, but elongated shape, which is in sympathy with the diagonal line.

Active space

The diagonal between DSOP to USP.

Stage

space

DSOP corner which is an area of strength.

The diagonal between DSOP and USP which travels through three areas of strength.

Analysis of key shape #4

Low–mid level.

The shape reaches towards two opposite directions:

· low towards USP.

· high towards DSOP corner.

Opposition between the focus of the head, torso, legs and the reaching arms.

Possible interpretation

Reaching towards a goal or memory or force, but at the same time being held or pulled back or resisting a force or attraction represented in the DSOP corner.

Movements in the phrase

What do you observe about the movements in the first phrase of this dance?

Direction	Initially the dancer remains facing USP corner. But then she turns to face the opposite DSOP and travels down this diagonal.
Level	The movements quickly bring the dancer from the floor or (low level) to standing (mid level). Then as the dancer travels forward along this diagonal there are some high level shapes (hopping and jumping).

Shape

The opening shape(s) is briefly repeated on the other side (left) (possible motif), before the dancer stands to face USP.

The shape(s) here create child–like game images:

· knees and hands crossing

· circling wrists hopping locomotor sequence with torso inclining to each side (variation of the opening position)

· child–like image(s) are punctuated by a dramatic change of level and dimension as the dancer falls to the floor.

· the first fall to the floor. The shape is foetal facing the front (diagonal), the knees are drawn up to the chest, but the dancer is on their right side, head on the right arm reaching to downstage opposite prompt corner (variation of the opening position).

· lunge to upstage prompt corner. Note the oppositional lines here: the left knee, focus, torso inclines to the corner, where the phrase started, but the arms reach to the other diagonal corner (away from the focus).

· second fall to the floor (as above). The repetition serves to reinforce the statement created by the shape.

Dimension

Once the dancer stands up, the dimension changes, from enclosed small shapes, to larger and more open shapes and movements. At the beginning of the phrase, there is a contrast that begins small and rounded, that becomes larger and wider (jumping and hopping), and then returns to the narrow and enclosed position at the end of the phrase.

Personal

space

From the enclosed kinaesphere of the opening shape, personal space expands to allow much more reaching and use of the space (particularly in conjunction with the hopping and jumping sequence).

The phrase concludes with a shape in which the personal space again becomes minimised, enclosed and linear.

Active space

In this phrase, it is USP corner to

the DSOP corner. This space is active, because it is the pathway that establishes the two focal points of the phrase. It shows the dancer being torn or dragged between the two points.

Stage

space

This phrase travels through three strong areas of the stage:

· USP

· centre stage

· DSOP.

The diagonal pathway created here shows movement increasing or flowing out towards the audience. As it does this, the movements become bigger (jumping and hopping), until as they reach their destination (DSOP corner) the dancer falls to the floor. While still an area of strength, the diminished shape of the dancer provides an active contrast.

Analysis of the phrase

· change from mid to high levels

· travelling along the diagonal through the areas of strength on the stage

· child–like game shapes and movement

· finishing position at the end of the phrase (foetal position, linear, reaching to DSOP corner, a variation of the opening position).

Possible interpretation

· Being drawn from one influence to another.

· Resisting the influence from a dominant force (DSOP corner)

· Flashback to childhood memories

· Rejection of those memories (falling to the floor at the end of the child–like sequence.)

Activities.

Now that you have seen this phrase:

How would you manipulate the next phrase to reinforce the intent and motif?

Would you manipulate the movement?

Would you use repetition?

Where would the next phrase go in the space?

Reflect on a signature phrase in your core composition:

Is the intent seen in the shapes throughout this phrase?

Is the motif seen and manipulated in this phrase?

Have you focused on any particular spatial element in this phrase? Why?

What is the relationship of this phrase to other phrases around it?

How has each of the elements of space: shape, level, pathway, dimension, personal space and performance space been used in your phrases?

Is the motif seen in the transitions between the phrases?

Can you manipulate the shapes, pathway, direction etc. to better reflect the intent of your dance in this phrase?

Return to: Space