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Preconditions for the Acquisition of the Credit Points:
VII.To perform a structure given by the examiner applying the acquired elements of improvisation. To create a structure of improvisation for a group and a solo.
VIII.Literature:
1.Franclin, E. Imagery for Dance and Performance, USA, 1996
2.Blom, L.A. & Chaplin L.T. The Moment of Movement, Pitsburg, 1988
3.Poseton S. Contact Improvisation, USA
4.Olsew A. Body Stories, NY
The Name of the Course: The Composition and Choreography of Modern Dance.
The Scope of the Course: 7 terms, 416 classes.
21 credit point. The form of assessment: an examination at the end of each term according to the programme of the study course; a 20 – 30 minutes long dance composition shall be worked out and staged at the BA Examination.
The Authors of the Course: Doc. Rita Spalva, Mag.Ped., lecturer Olga Žitluhina, Mag.Art.
Preconditions for the Acquisition of the Course: General training in movements and dance.
The Contents of the Course: The aim of the course is to develop the individual creative skills of the students by joining the practical and theoretical skills of modern dance, acquire and use different forms of choreography, promote the significance of the unity of music and dance and generate new ideas (forms and structures). The aim is to develop the skills of being able to join the professional environment and different creative situations, and use the acquired knowledge in practical work (examinations: concerts, creative laboratories and stage productions).
Thematic Planning:
Theme | Week |
Type of classes and hours
| Term I |
|
| -
Introduction. The class of composition: theoretical approaches.
|
1.,2.,3.,4.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| -
The history of dance composition.
|
5.,6.,7.,8.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| -
Introduction of the methods and principles of dance composition in etudes.
|
9.,10.,
11.,12.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| -
Preparation for the examination in composition “Application of Methods and Principles in Modern Dance”.
|
13.,14.,
15.,16.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| CXXIX.Term II |
|
| -
Choreographic structuring and modelling.
|
17.,18.
|
P2;P2;P2;P2;
P2;P2;P2;P2
| -
Monophony and polyphony in etudes.
|
19.,20.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2; P2;P2;P2;P2;P2;P2
| -
The variation of movements.
|
21.,22.,
23.,24.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2; P2;P2;P2;P2;P2;P2
| -
Creation of gestures as elements of dance.
|
25.,26.,
27.,28.
|
P2;P2;P2;P2;P2;P2
| -
Application of the feel for the environment in specific movements.
|
29.,30.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| -
Preparation for the examination.
|
31.,32.
|
P2;P2;P2;P2;P2;P2;P2;P2
| CXXX.Term III |
|
| -
The unity of dance and music: “dances with music, in music and by music” (F.Lopuhov).
|
33.,34.,35.,36.
|
P2;P2;P2;P2;P2;P2;P2;P2
| -
The application of the polyphonic forms of music in modern dance (a duet).
|
37.,38.,39.,40.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2; P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| -
The creation of choreographic forms.
|
41.,42.,43.,44.
|
P2;P2;P2;P2;
P2;P2;P2;P2
| -
Preparation for the examination: a concert.
|
45.46.,
47.,48.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;
P2;P2;P2;P2;P2;P2
| CXXXI.Term IV |
|
| -
The interaction of movement and text: a movement as an illustration of a text; a movement as the expression of the emotions of a text; a movement as the expression of the idea of a text; text as a melody and rhythm.
|
49.,50.,51.,52.,
53.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| -
The interaction of movement and voice.
|
54.,55.,
56.,57.,
58.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| -
Preparation for the examination: a concert.
|
59.,60.,61.,62.,63.,64.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| CXXXII.Term V |
|
| -
The creation of small choreographic forms.
|
65.,66.
|
P2;P2;P2;P2;
P2;P2;P2;P2
| -
Duets.
|
67.,68.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| -
Trios.
|
69.,70.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| -
Solos.
|
71.,72.,73.,74.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| -
Preparation for the examination: a concert.
|
75.,76.,
77.,78.,
79.,80.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| CXXXIII.Term VI |
|
| -
The creation of a large choreographic form (a musical).
|
81.,82.,83.,84.,85., 86.,87.,88.,89.,90., 91.,92.,93.,94., 95.,96.
|
P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
| CXXXIV.Term VII |
|
|
24. The application of video installations in choreography.
|
97.,98., 99.,100.,101.,102. 103.,104.105.,106. 107.,108.109.,110. 111., 112.
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P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
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