Winona State University
Department of Theatre & Dance		  
THAD 322 - Dance Composition
Syllabus Fall 2001

 

MW 2:00-3:30 Instructor Gretchen Cohenour Office PAC 212 Phone 457-5665
E-Mail : gcohenour@winona.edu 457-5230 - THDA office (lv.message)
Office Hours:

Please see Gretchen's Schedule

 

Course Discription Outcomes/Goals Concepts Instructional Plan Student Expectations
Evaluation Text book : required References Rationale Calendar

 

Course Description
Compositional theory, methods, and conceptual approaches to traditional and non-literal choreography. Relationships between form, content, technique and projection of the dance image are explored. Offered yearly. Prerequisites: THDA 131 or permission of instructor. Dance minor requirement.

 

Learner Outcomes/Class Goals
a. To develop creativity through movement learning and experimentation.

b. To understand a working knowledge of:

1) movement and design elements
2) choreographic structures
3) conceptual approaches, and
4) style:individual,cultural, and historical
c. To use improvisation process and research as a means of finding authentic, intentional movement material that reflects the inner motivation.
d. To develop skills in remembering, organizing, and crafting movement material with clarity.
e. To construct dances and movement phrases in which composition theory is applied, practiced, explored, and embodied.
f. To write and speak articulately about dance composition process and product.
g. To understand the process of dance making from play to inspiration to choice making to rehearsal to polish to finished product to reflection and assessment.
h. To understand the choreographer/director’s roles and responsibilities as an artist, collaborator, and communicator in relating to dancers, musicians, designers, etc....
i To make connections between dance, theatre, visual arts, music, poetry, and LIFE.
j. To develop aesthetic judgment and risk-taking.

 

Outline of Concepts
I. Elements of Dance - Deconstructed
A. One’s Body, Movement, Imagination, Intelligence, Perception, Emotions, Creativity, Intuition, Spirit, Aesthetic Awareness, and Life Experiences.

B. Space Factors

1. Direction and facing relative to environment
2. Direct/Indirect spatial intent
3. Level, size, and shape
4. Focus
5. Pathway
6. Volume

C. Energy factors

1. Tension/relaxation
2. Flow: bound/free
3. Weight: strength/lightness intent

D. Timing factors

1. Urgent/Sustained intent
2. Speed and momentum
3. Duration
4. Rhythm and pulse
5. Phrasing
6. Stillness
Although these elements have been listed separately for clarity of understanding, they exist simultaneously in each moment of movement. Constructing phrases is about the juxtaposition of chosen elements in unique combinations and relationships

II. Design Concepts

A. Abstraction
B. Symmetry and Asymmetry
C. Movement, Visual Rhythm, and Repetition
D. Balance and Unity
E. Line, Plane and Shape
F. Texture, Shading and Color
G. Scale and proportion
H. Contrast and Variety
I. Relationship

III. Compositional Forms and Method

A. Theme and Variations/Motif and Development G. Canon
B. ABA H. Rondo
C. Narrative I. Minimal Movement
D. Broken Form J. Structured Improvisation
E. Music Visualization K. Style-dictated
F. Organic Form

IV. Process

A. Intention, Motivation, Openness, Clarity
B. Relationships: Environment, Props, Other dancers, Audience
C. Making phrases: Unity, Continuity and Transitions
D. Sequencing and Pacing
E. Personal,Cultural, Historical Style awareness
F. Revision, feedback, revision etc....etc...(dances are performed into being)

V. Product

A. Scenic Elements: Lighting, Costumes, Set designs, Props etc...
B. Evaluation Process: Form, Content, Technique, Projection
C. Integration of Aesthetic material
D. Communicative power of the work
E. Vantage points for perception

 

Basic Instructional Plan and Methods
Definition and exploration of concepts will be experienced through movement experiences, lecture/demonstration, structured improvisation, discussion, creative projects, videotaping and critiques.

Working methods include:

1) Take risks
2) Be as physical as possible
3) Be as clearly defined as possible
4) Bringing your technique with you to the process
(excerpted from Beatty p.14)

 

Student Expections
Time on Task: Spend 2+ hours of studio time weekly outside class for independent movement exploration and composition class assignments. Spending the time needed to develop and deepen your choreographic ideas is essential to this process. Submit scheduled hours to Gretchen during first week of classes and keep a log of studio time and class project rehearsal time in your portfolio.
Observation/Integration/Collaboration/Sharing: As I follow–up from Performance I class, consciously and continually observe nature and research self, human, animal, and machine movement patterns and habits in your world. Creating art in any form is fed by intensified awareness and experiencing the world with open senses! Play!… analyze; exaggerate; simplify, and make connections between your life and “performance”. Raw material for creating solo and group dances is everywhere you look with openness and curiosity! Students and instructor give and receive prompt written and verbal feedback during class and practice “informed self-assessment” throughout the process.
Reflection/Documentation: Keep an ongoing Dance Composition Portfolio including process notes, observations, class notes, notes on the text, drawings, movement scores, critiques, required dance concert responses, articles and self-assessments. Students will need a blank videotape for recording movement studies. The purpose of the portfolio is to serve, document, and reflect your creative process, skill development and knowledge base. DATE all entries and organize it so that it is visually appealing-like the art form of dance. Include drawings, scores, pictures, movement maps, and anything else that has effected or inspired your learning process. Please date entries.
Literacy and Diversity of Choreographic Experience: Attend local performances of theatre, dance and music as time allows and type 1-2 page responses to required shows. (See calendar for dates.) Also, the WSU Media center has a huge collection of traditional and contemporary choreographic works on video.
All students in Dance Composition are required to log into the Assessment and Institutional research WWW page at
http://assessment.winona.edu
and follow the link to the data update module and type in your info, which takes about 1 minute!.
This way instructors will have access to your email address, phone, and address.

 

Please notify the instructors to request any special accomodations that will help facilitate your learning in this class.

 

Evaluation
30% Class attendance (more than 2 excused absences drop your grade) and quality of participation.
20% Punctual completion of class assignments and contribution to discussion and critiques.
20% Composition portfolio (submitted twice per term at instructor’s request).
10% Midterm quiz and final take-home exam
20% Midterm “ism” and final “your choice” dance projects and composition process.

 

Textbook REQUIRED
Humphrey, Doris. The Art of Making Dances. N.Y., Grove Press, 1992.

 

References
Beatty, Patricia. Form without Formula: a Concise Guide to the Choreographic Process. Toronto: Press of Terpsichore, Ltd. 1986.
Blom, Lynne Anne and Chaplin, L. Tarin. The Intimate Act ofv Choresography. Pittsburgh: University of Pottsburgh Press, 1986.
Ellfeldt, Lois. A Primer for Choreographers. Palo Alto, CA: Mayfield Publishers, l967.
Hawkins, Alma. Creating Through Dance. Princeton: Princeton Book Company, Publishers, 1988.
Turner, Margery J. New Dance: Approaches to Nonliteral Choreography.Pittsburgh, University of Pittsburgh Press, 1971.
Videotapes of diverse professional choreography are recommended viewing in Media Services

 

Rationale
The principles and process of composition are the theoretical core of dance as an art form. For the dance minor it is an essential course. As an elective in the theatre area it can be used to deepen design concepts and a sense of aesthetic unity in the stage space through a performer and director perspective.

 

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