The Intimate Act of Choreography

251 Pages·1982·11.245 MB·English

by  Lynne Anne Blom, L. Tarin Chaplin

The Intimate Act of Choreography

The Intimate Act
of Choreography
Lynne Anne Blom and L. Tarin Chaplin
University of Pittsburgh Press
Published by the University of Pittsburgh Press, Pittsburgh Pa. 15260
Copyright © 1982, University of Pittsburgh Press
All rights reserved
Manufactured in the United States of America
Printed on acid-free paper
20 19 18 17 16 15 14 13
Library of Congress Cataloging-in-Publication Data
Blom, Lynne Anne, 1942-1993
The intimate act of choreography.
Includes bibliographical references and index.
1. Choreography. I. Chaplin, L. Tarin II. Title.
GV1782.5.B55792.8'2 82-2056
ISBN 0-8229-3463-9 AACR2
ISBN 0-8229-5342-0 (pbk.)
A CIP record for this book is available from the British Library.
Eurospan, London
To our parents

Contents
Foreword / xi
Preface / xiii
Acknowledgments / xvii
Terminology / xix
1. Approach / 3
Isolating Choreographic Elements / 3
Combining Theory and Practice / 4
Using Improvisation / 6
2. Essentials / B
Intention, Motivation, and Clarity / 8
Theme / 12
Simplicity / 13
Artistic Impact / 14
3. Speaking Body / 16
Body Parts / 16
Building Trust and Sensitivity / 18
4. Phrase / 23
Basic Structure / 23
High Point / 24
Variety in Phrase Length / 29
Choreographic Phrase vs. Movement Combinations / 29
5. Space / 31
Level / 32
Geometry of Space / 33
viii / Contents
Design in Space: Shape / 37
Focus / 43
Active Space / 45
Turning / 47
Floor Pattern / 50
Stage Space / 52
Personal Space / 54
Environment / 56
6. Time / 58
Tempo / 58
Momentum / 59
Duration / 60
Clock Time / 61
Regular/Irregular / 62
Accent / 63
Meter / 65
Natural Rhythms / 67
Stillness / 70
7. Energy / 72
Energy (active/passive) / 73
Force (strong/gentle) / 74
Movement Qualities: Dynamics in Action 77
8. Forming / 83
Form's Natural Existence and Artistic Use 83
Organic Form / 86
Transitions / 87
Sequencing / 90
Compositional Structures vs. Choreographic Devices / 92
Compositional Structures / 93
Theme and Variation vs. Motif and Development 99
Choreographic Devices / 101
Overall Form / 120
9. Abstraction 124
In Art and Aesthetics / 124
Imagery / 127
Gestures / 129
Degrees of Abstraction / 133
Pure Dance / 134
ix / Contents
Romanticism/Classicism 134
Abstraction vs. Stylization / 135
10. Style / 136
Personal Movement Style / 138
Choreographic Style / 143
Codified Technique / 146
Theories of Movement / 147
Cultural Style / 150
Great Periods in Art / 151
11. Silence, Sound, and Music 156
Silence / 156
Sound / 158
Music / 161
12. Group Work / 173
Group Trust, Movement, Design / 173
Multibody Movement: Design and Structure / 174
Partner Work / 176
Numerical Possibilities and Staging / 178
Balance and Placement in Overall Design / 178
Small Groups / 180
Chorus vs. Group / 183
New Resources: Dances from Your Dancers / 183
Using Choreographic Devices and Compositional
Structures / 186
Formations / 189
The One and the Many / 190
Working with Masses / 191
13. Theatrical Elements / 193
14. Performance / 198
15. Tangents / 201
Teacher's Addendum: The Delicate Art of Teaching
Choreography / 209
Appendix: List of Improvisations and Choreographic
Studies / 217
Notes / 221
Index / 227