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Performance quality applied to the Dance

Control and manipulation of the elements of dance

Tutorial 1

Shapes, which move in and through space, over time, with a particular dynamic energy, create a particular quality, which is then seen and/or felt by the viewer.

The composer and choreographer then, selects specific shapes and movements, and manipulates them through the selected space, over the selected time, and with a selected dynamic, to create a desired feeling or visual impact. It is this process that forms the basis of communication in dance as an artform.

The choices made by the composer and choreographer as to how best to use space, time and dynamics to communicate the intent, are based on:

their knowledge of and experience with the compositional process
their knowledge of how the elements of dance may be combined to produce the movement language which will effectively communicate the idea or ideas
experimenting or improvising with different combinations of space, time and dynamics and evaluating the results
observing (either in live performance or on videotape), the works of other choreographers, who are seen as masters, and whose works are acknowledged as works of art. Then analysing how the elements of dance have been used to create the ideas and/or feelings received by the viewer (even though different viewers may receive different ideas and/or feelings).

The term dynamics, as an element of dance generally refers to the level of energy or force and the way that energy or force is applied to and withdrawn from the body over time, to commence, continue, and stop movement.

Generally the level of the dynamic is best seen in contrasts as this helps to establish its relative range and character.

For example: the level of energy may range from minimal to maximal, or gentle to powerful. The level of energy can be constant, or increasing, or diminishing.

The way that the energy is applied and withdrawn over time, to create a particular dynamic, can range from sustained, to irregular or percussive or vibratory.

The dynamic of the movement then, is the pattern that results from the interaction of force and time. This pattern produces a particular quality of movement that helps to establish a choreographic idea.

For example, the sustained dynamic that is created by the controlled release of a low to medium level of energy over time may produce a quality like tension. A release of energy that commences at a low level and increases to a high level over time may create a powerful quality. Strong energy released at irregular intervals creates a percussive quality.

This patterned interaction of force and time, which helps to establish the quality of the movement, is also manipulated by the composer or choreographer to shape the phrase and indeed the whole dance or work.

The first phrase shown here provides an example of a sustained dynamic. In the interaction of force and time in this phrase, the level of energy and the way that the energy is released remains constant throughout the length of the phrase. From the starting position on the floor, the energy that is released to initiate the first movement, up to the energy being withdrawn in the final parallel balance, from the floor to standing, is sustained.

Activity 1

Observe the effect created by the dynamic in conjunction with:

the body shape
the parts of the body that are moving
the reach
the level
the quality of line
the focus.

Activity 2

Observe how the initial application of energy, and the continued sustained application of energy, create tension in the body parts as the muscles contract and remain contracted without release, in order to make the body move slowly, continuously and with a maximum reach.

This level of tension is now read by the viewer along with the mood or feelings created by the still shapes, and moving images, made by the body as it moves through space and time.

While this sense of tension has been created in the choreography, the dancer must also work to produce this effect by employing the same level of tension in their performance.

The second phrase shown here provides an example of a percussive dynamic. In the interaction of force and time in this phrase, the level of energy released is high or strong, and it comes in pulses, as the time interval between the releases of energy is irregular.

The feeling, or quality, or mood created here by the dynamic pattern, applied to the body images moving through space and time is of a kind of quirkiness. The percussive dynamic with its high energy release, contrasting tension and relaxation, irregular pulses and body shapes, help to create this quality.

In the third phrase shown here the dynamic pattern ranges from sustained to percussive, which means that the quality of movement also changes. The contrast in dynamics, serves to strengthen the effects of both, creating mood or quality changes. The effect is further heightened by the unpredictability of the changes. That is, there is not an even distribution of time given to the sustained and the percussive dynamic in the phrase.

The three phrases provide examples of a particular dynamic and the quality or mood that it helps to create. Generally speaking it is unlikely that a choreographer would have a single dynamic in every phrase or in a whole dance. Overuse of the one dynamic in a phrase or phrases or a whole dance may diminishes its effect and the viewer may lose interest.

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