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4 Ways To Clean Choreography

June 21, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

CleaningChoreography

Know the Counts

In many group pieces, the counts are the glue that holds the piece together. Solidifying the counts in the dancers’ brains should be the first step in cleaning a piece, as it creates a framework for the rest of the cleaning. In order to make sure all dancers are in unison, or on the same count, take the piece one section (say 32 counts) at a time. Have the dancers perform the choreography while counting out-loud, and listen  for dancers who are off or unsure.

Break it Down

Performing a choreographed dance requires the coordination of many different elements. To solidify each, run the piece a few times, each time focusing on a different element. For example, do one run with only arms, do a second run with only formations and focus. Breaking the piece down like this will allow you to fine-tune these elements with less distraction.

Take Notes

Always watch a piece with a pencil and paper. Don’t yell notes at your dancers: often, this just causes confusion. Instead, write down corrections. Draw a line in the middle of your page. On the left side, write down individual notes and quick fixes (i.e. an incorrect arm position on a single dancer). On the right side, write more “big picture” issues, such as a messy unison section.

Talk it Out

The suggestions above deal with the technical side of a piece, but what about the artistry? I like to have at least one “sit down” conversation with my dancers about each piece. I give them a framework of why I choreographed the piece, what my inspiration was, and what I want them to portray. I then allow them to engage in a discussion with one another about what the piece means to them, and what they feel they portray. This facilitates a more personal connection between the dancers and the piece.

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Filed Under: BALLET, BALLET DANCERS, CHOREOGRAPHER, CHOREOGRAPHY, DANCE, DANCERS

Conductor Gianandrea Noseda On The Challenges Of Conducting Verdi’s Il Trovatore

June 20, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

Filed Under: CONDUCTOR, GIUSEPPE VERDI, IL TROVATORE, OPERA, VIDEO

Setting Acting Goals

June 20, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

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If my main goal was to move my own acting career forward, here are some examples of things I might do daily.

  • Apply for my own work (yes, even if I had an agent).
  • Go on social media and interact with other actors, film makers, casting directors and anyone else in the industry.
  • Re-connect with somebody I’ve worked with in the past.
  • Write a blog post.
  • Read a book about acting or watch online tutorials.
  • Move my body on some way.
  • Practice relaxation techniques and focus exercises.

Now over to you…

Photograph by Kalvin Sainz

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Filed Under: ACTING, ACTORS, AUDITION

Roger Scruton On Why Wagner Matters

June 20, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

Filed Under: AUDIO, BOOKS, MUSIC, OPERA, WAGNER

Why We Love Repetition In Music?

June 17, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

Filed Under: MUSIC, REPETITION, VIDEO

A 7-point “How-To” Guide for Effective Mental Practice

June 17, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

Drawing from research in sport psychology, cognitive psychology, and neuroscience, two British researchers developed a 7-point checklist of the key factors which influence the effectiveness of visualization.

1. Physical

Perhaps the most important of the guidelines, the idea is to make your visualization experience as physically similar to playing as you can.

2. Environment

If you’re doing visualization to practice a passage or solve a fingering issue, it may not matter so much where you imagine yourself playing.

3. Task

We all think about different things while performing; your imagery should reflect this too. Do you focus on your fingers? On the quality of sound? On phrasing? What toppings you’re going to put on your celebratory pizza?

4. Timing

Generally, it makes sense to do imagery in real-time. Not rushed, or slowed-down, but with the same exact rhythm and timing as the physical execution of every shift, bow change, and exhale.

5. Learning

As we continue to learn and grow, so too will (or should, anyway) the content of our imagery. Why? Because as we become increasingly skilled musicians, the level of detail and awareness we have about our playing continually expands.

6. Emotion

Most of us don’t perform in a relaxed, totally chilled-out state. So visualizing ourselves performing in the biggest audition of our life, supremely calm and relaxed, doesn’t prepare us particularly well for the reality that we’ll ultimately be experiencing.

7. Perspective

There are two perspectives or points of view we can use to “see” ourselves in action. An internal perspective is where you experience yourself playing as if you are looking through your own eyes.

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Filed Under: CHECKLIST, VISUALIZATION

How To Make The Most Of Your Dance Classes

June 17, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

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What are some ways to do that and take responsibility for learning in dance class?

  • Arrive early
  • Come prepared
  • Practice proper dance class etiquette
  • Stay focused
  • Take and apply corrections and direction
  • Ask and listen to questions and really absorb the answers
  • Take notes
  • Think ahead
  • Spend more time on the things that need work than the things that don’t
  • Be eager to revisit the basics
  • Listen to your body and keep it in top form with cross-training or conditioning
  • Develop professional relationships with your teachers and mentors
  • Find great teachers you can trust and then actually put your faith in their methods

Photograph by Chicbee04

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Filed Under: BALLET, BALLET DANCERS, DANCE, DANCERS, LEARNING, MOVEMENT

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