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Art and Practice of Musical Theatre Choreography [Kõva köide]

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(Texas State University, USA)
  • Formaat: Hardback, 216 pages, kõrgus x laius x paksus: 248x176x18 mm, kaal: 540 g, 40 bw illus
  • Ilmumisaeg: 25-Aug-2022
  • Kirjastus: Methuen Drama
  • ISBN-10: 1350193348
  • ISBN-13: 9781350193345
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Art and Practice of Musical Theatre ChoreographySuurem pilt
  • Formaat: Hardback, 216 pages, kõrgus x laius x paksus: 248x176x18 mm, kaal: 540 g, 40 bw illus
  • Ilmumisaeg: 25-Aug-2022
  • Kirjastus: Methuen Drama
  • ISBN-10: 1350193348
  • ISBN-13: 9781350193345
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781350193345.html
Märksõnad:

What does a musical theatre choreographer actually do? They just 'make up the steps', right?

This book firstly debunks the misunderstandings around what musical theatre choreographers actually do, demonstrating their need to have an in-depth understanding of storytelling, music theory, performance practices and plot structure in order to create movement that enhances and enlivens the musical.

Secondly, it equips the musical theatre choreographer with all the tools needed to create nuanced, informed and inspired movement for productions, through structured activities that build specific skills (such as 'notating the script' and 'scoring the score').

Traditionally, this training has been something of a series of secrets, passed from mentor to apprentice. The author demystifies the process to make the previously undisclosed “tricks of the trade” accessible to all choreographers, everywhere.

Covering the entire process of choreographing a musical from the first script reading to the final curtain call, this book makea case for the absolute integrity of the choreographer to any musical theatre production and sets out the theoretical principles of choreography alongside the practical application during every step of the production process.

Muu info

This comprehensive guide to musical theatre choreography maps the principles, practices and tricks of the trade needed to create nuanced, informed and inspired movement.
List of Figures and Tables
xii
Preface xiv
Acknowledgments xv
Introduction xviii
Part 1 The Art
1(120)
1 Where to Start
3(10)
The Musical Theatre Choreographer
3(3)
Choreographing in a New Era of Musical Theatre
6(2)
Process versus Product
8(1)
Accessibility
9(4)
2 Research
13(12)
The World of the Piece
13(1)
Historical and Geographic Context
14(1)
Culture
14(1)
Visual Landscape
15(1)
Words, Words, Words
16(1)
Listening
16(1)
Style
16(2)
Movement Vocabulary
18(1)
The People of the Piece
18(2)
The History of the Piece
20(1)
Revivals: Making Something Old New Again
21(1)
Copyright and Licensing
22(1)
Activity: Visual Lookbook
23(1)
Activity: Movement Reel
23(2)
3 Storytelling Through Movement
25(10)
The Musical Structure
26(1)
Roles of Choreography in the Musical
27(3)
The Role of the Ensemble
30(1)
Script Analysis: Creating a Movement Arc
31(2)
Activity: Movement Arc
33(2)
4 Interpreting the Score
35(16)
The Basics
36(1)
Meter and Rhythm
36(1)
Notes
37(1)
Time Signatures
38(1)
Staves and Clefs
39(1)
Key Signatures
39(1)
Expressions, Articulations, and Dynamic Markings
40(1)
Other Important Markings
41(1)
Musical Passages and Transitions
42(2)
Music Through a Dance Lens
44(1)
What You Hear Versus What You See
45(1)
Musical Changes, Counting, and Cutting
46(1)
Physical Interpretations
47(1)
Activity: Discovering the Cut
48(1)
Activity: Drawing the Musical Phrases
48(1)
Activity: Scoring the Score
49(2)
5 Musical Staging
51(16)
Earning the Song
51(1)
Song Structure
51(1)
Stage Moods
52(2)
Partners
54(3)
Movement While Singing
57(1)
Motion
58(1)
Crosses
59(2)
Gestures
61(1)
Stillness
62(1)
Stylization
63(1)
Physical Comedy
64(1)
The Mini-Build
65(1)
Sample Staging Outline: Solo
65(1)
Activity: Notating in the Script
66(1)
6 Production Numbers
67(24)
Sectioning the Number
68(1)
How to Create a Build
69(1)
Types of Builds
70(1)
Groupings
71(2)
Eliciting Applause
73(1)
Buttons
73(1)
Nuts and Bolts
74(1)
Focus
75(1)
Direction and Level
76(1)
Repetition versus Variety
77(1)
Individual versus Unison
78(1)
Balance: Symmetrical versus Asymmetrical
78(1)
Formations
79(1)
Lines
79(3)
Curves
82(1)
Other Formations
83(1)
Multiple Formations
84(1)
Movement Patterns
85(3)
Diagrams
88(1)
Activity: Analyzing the Build
89(1)
Activity: Building the Build
90(1)
7 Creating the Steps
91(16)
Process
91(1)
The Six Questions of Dance
92(1)
Intention
92(1)
Style
93(1)
Economy
93(1)
Creation
94(1)
Research
94(1)
Abstraction
95(1)
Physical Representation
96(1)
Dance Journaling
96(1)
Movement Prompts
97(1)
Efforts
97(2)
Objectives
99(1)
Zones and Centers
99(1)
Fundamentals
100(1)
Initiation and Force
100(1)
Shapes and Transitions
100(1)
Choreographing the Eyes
101(1)
Speed, Musicality, and Syncopation
101(1)
Contrast, Isolation, and Accent
102(1)
Suspensions, Freezes, and Sounds
102(1)
Dancers as Objects
103(1)
Crowd Movements
103(1)
Utilizing the Design
103(2)
Notation
105(1)
Activity: Steps Notation
106(1)
8 Adapting to Various Spaces
107(14)
Types of Spaces
107(1)
Site Specific Theatre
108(1)
Benefits and Challenges
108(1)
Tricks of the Trade
109(2)
Formations
111(4)
Movement Patterns
115(1)
Creating Focus
116(1)
Musical Staging
117(1)
Storytelling
118(1)
Activity: From Proscenium to the Round
119(2)
Part 2 The Practice
121(60)
8 Assembling Your Team
123(10)
Members of the Choreographic Team
124(1)
Dance Captain
124(1)
Assistant Choreographer
124(1)
Associate Choreographer
125(1)
Pre-production
125(2)
Auditions
127(1)
Audition Breakdown
128(1)
Dance Calls
128(1)
Audition Combination
129(1)
In the Room
130(1)
Making the Cut
131(1)
Activity: The Dance Audition Combination
132(1)
10 Collaboration
133(16)
Design and Production Meetings
133(1)
Creative Discussions
134(1)
Design Meetings
134(1)
Break Out Meetings
135(1)
Production Meetings
135(1)
Designer Run Through
135(1)
Collaborating with the Director and Music Director
136(1)
The Director
136(1)
The Music Director
136(1)
The Dance Arranger
137(1)
Collaborating with the Design Team
138(1)
The Set Designer
138(4)
The Costume Designer
142(2)
The Lighting Designer
144(1)
The Sound Designer
145(1)
The Stage Manager
146(1)
The Director/Choreographer
146(1)
Activity: Inquires and Musings
147(2)
11 Rehearsals
149(14)
Types of Rehearsals
149(1)
Staging Rehearsals
149(2)
Cleaning Rehearsals
151(2)
RunThroughs
153(1)
Spacing Onstage
154(1)
Sitzprobe and Wandelprobe
155(1)
Technical Rehearsals
156(1)
Previews
156(1)
Running Rehearsals: How to Lead
157(1)
Working with Performers
158(2)
Giving Notes
160(1)
Activity: Rehearsal Timeline
161(2)
12 All the Other Things
163(12)
Transitions
163(1)
Contact and Intimacy
164(3)
Improvisation
167(1)
Child Performers
168(1)
Special Skills
168(1)
Curtain Call
169(2)
Photo Call
171(1)
Rehearsing Understudies and Swings
172(1)
Activity: Tracking Transitions
173(2)
13 Nice Work It You Can Get It
175(6)
Finding Work
176(1)
Creating Your Own Work
177(1)
Displaying Your Work
178(2)
Activity: Choreography Reel
180(1)
Bibliography 181(4)
Index 185
Cassie Abate is the Head of Musical Theatre Dance at Texas State University, USA, where she mentors choreographers and continues to direct/choreograph at theatres all across the country.