When dancers work well together it’s a beautiful thing. Here are four (or more) ways to ensure effective collaboration in choreography, even when a ballet choreographer and a modern-based dance theatre company come together for a “zombie ballet.”
Have you ever danced about the water cycle? Did you learn anything about dance? If not, then your science education was enhanced by dance not integrated with it. Heather gives examples of how dance might be integrated with other subjects and some tips on collaborating with another teacher.
Even before the first musical theatre production meeting you want to be thoroughly familiar with the show and develop your vision the choreography. After that comes the collaborative process, involving all of the show’s directors, and then… auditions! This article, a companion to our earlier post Approaching Choreography for Musical Theatre helps take you through and successfully navigate this terrain.
The studio I work at has three studios – one large and two small — as well as a small theatre space that seats about 100 people. The two smaller studios and the theatre space have an upright acoustic piano, and the larger studio has a baby grand piano. I actually prefer to play on the upright acoustic pianos as I find their tone more appealing – not to mention the fact that I can get more emotion out of these pianos!
The very first ballet class I played for was a big surprise, because I had no idea what to expect or what would be expected of me by either the teacher or the dancers. I walked into the studio and the first person I saw was the teacher (who seemed to me to be very old), holding a lit cigarette in one hand and a cane in the other!
It is challenging to work with a younger sibling when creating or rehearsing for a performance. Here are the keys to avoiding frustration.