PRINCIPLES AND TECHNIQUES OF CHOREOGRAPHY: A STUDY OF FIVE CHOREOGRAPHIES FROM 1983 (DANCE, LABANOTATION, SOKOLOW, PENDLETON).
Item
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Title
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PRINCIPLES AND TECHNIQUES OF CHOREOGRAPHY: A STUDY OF FIVE CHOREOGRAPHIES FROM 1983 (DANCE, LABANOTATION, SOKOLOW, PENDLETON).
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Identifier
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AAI8515607
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identifier
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8515607
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Creator
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BECK, JILL.
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Contributor
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Stanley Waren
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Date
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1985
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Language
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English
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Publisher
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City University of New York.
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Subject
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Theater
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Abstract
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This study proposes and implements a methodology for research in choreography. Historically, choreographic research has been impeded by the difficulty in separating choreography from its performance, and by the ephemeral nature of dance. Two relatively new forms of documentation, Labanotation and video, make in-depth choregraphic analysis possible.;In Part I, five choreographies created in 1983 are presented and analyzed. The five choreographers and their works are: Anna Sokolow, Scenes From the Music of Charles Ives; Rachel Lampert, What's Remembered?; Clay Taliaferro, Falling Off the Back Porch; Moses Pendleton, Children on the Hill; Buzz Miller, Not For Love Alone. Several factors dictated the choice of these choreographers foremost being the range of dance styles and approaches to choreography they represent.;Both Labanotation and video documentation are incorporated into this analysis, which is a demonstration of the new research into choreography. The five analyses illustrate ways and the extent to which Labanotation score reading can reveal techniques of choreography, and the nature of insights into principles of choreography afforded by videotaped records of the creative process of a dance work.;The analysis of the five choreographies is followed by a synthesis of the results, designed to provide the basis for future choreographic research in general. Part II focuses on Principles of Choreography, to determine the range of beliefs and attitudes about concert dance among these choreographers. Part III focuses on Techniques of Choreography. There are many more techniques than principles, since each basic idea about dance can be implemented in a variety of ways. Matrices of principles and techniques derived from the studies provide a sample of choreographic philosophies and compositional devices operative in 1983. The matrices can be used for choreographic research in general by virtue of their establishing a range of principles and techniques against which other choreographers can be compared. Future research can enlarge the matrices, moving toward definitive sets of choreographic principles and techniques.;The Conclusion takes an overview of the "slice" of dance history from 1983 represented by the five choreographies, and raises questions in dance history and criticism for future choreographic research to address.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
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Program
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Theatre
