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Choreographic Composition

This document presents the justification and objectives of a choreography composition course. It explains that choreography involves organizing dancers' movements in space and time, considering elements such as lighting, costumes, and music. The course will teach how to compose choreographies taking into account the laws of movement while paying attention to personal creativity and artistic expression. Students will learn to design choreographies and stage presentations to showcase themes of folk dance.

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20 views6 pages

Choreographic Composition

This document presents the justification and objectives of a choreography composition course. It explains that choreography involves organizing dancers' movements in space and time, considering elements such as lighting, costumes, and music. The course will teach how to compose choreographies taking into account the laws of movement while paying attention to personal creativity and artistic expression. Students will learn to design choreographies and stage presentations to showcase themes of folk dance.

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CHOREOGRAPHIC COMPOSITION:

5th YEAR SPECIFIC TRAINING, ORIENTED CYCLE.

INTRODUCTORY FRAMEWORK:

JUSTIFICATION:

The theoretical-methodological foundation of this curricular space is a


scope of integration of various elements involved in the art of
spectacular.
The choreographic composition is a set of movements, directions,
fronts, displacements, bodily and group forms, spatial management
with different types of movements and the whole set of actions in
harmonious events, in different types of choreographic compositions,
according to the arrangement of the dancers on stage.
So we can say that choreography is the art of representing and
to make movements in a certain space and time, considering, not
only the grammatical action of a choreographic composition that describes the
movements of the dancers, if not also to organize and arrange sequence
of steps, in which a style and choreographic form are visualized.
To carry out a choreographic composition it is essential to have
count: The argument or theme of the work, the type of stage space, the
scenography and the scenic objects, the lighting, the costume, the
makeup, the sound and/or the musicalization, live, orchestrated or
compiled recordings, voiceovers, etc.
The technological elements (visual projections, special effects, etc.)
elements that are shared for the staging of a play,
giving meaning to the communicative message, poetic, aesthetic that
needs.
In this sense, we will build a space to create experiences for the
construction of the knowledge of scenic transposition, laws
choreographic, approaching the composition of a dance piece to be
brought to different pre-established scenic formats
In this framework, it will be necessary on one hand: - the study of each element of the
stage setting already mentioned, taking into account that each of them
it has a specific complexity that requires a specific study and
differentiated, in terms of its characteristics, design methodologies
and structured, within the framework of various theoretical lines, approaches, styles and
trends, contextualized in cultural and apocryphal environments
specific.
On the other hand, as previously stated, creativity, the meaning
Aesthetic as an organizer of all these elements is a central point of the
choreographic composition on which work will be done in this space
curricular. For this, it is recommended to introduce the student to the study of the c
grammatical codes of dance in the various genres and styles in relation
to the staging, identifying traditions and influences in each case.
Likewise, to create an environment conducive to the development of poetics.
students' personal development through various methodological strategies
that contribute to the connection with the inner world, the imaginaries
subjective and collective, that can constitute the germ of a work of
art in dance.
Finally, we must emphasize the importance of this curricular space in
the framework of the dancer's training, taking into account that either in the
formal, informal, or informal context, it will always be necessary for the student to
The dancer has tools for Professional Practice, that allow him/her
allow to organize, within the framework of a staging, a production in
which can show or convey to society the themes to be
addressed, taken on by the student-dancers within the framework of a project
artistic educational. Whether in school, in the neighborhood, the club, etc.

The dance work in which all experiences are combined


learning and creative experiences throughout a process
determined and that once on stage become a work of art that
reflects the development stage of a specific group and the themes
referring to Argentine, Latin American, popular folk dances,
that can be expressed in traditional or creative compositions in
apocalyptic and poetic contexts.
FORMATIVE PURPOSES
Contribute to training students-dancers of Argentine Folk.
competent to interpret, experience, produce, and recreate values
dance aesthetics that belong to the tradition, identity of our
culture and Latin America.
Train students-dancers with the ability to compose choreographies,
to build national and local identity based on themes of
Argentinian folk dances, Latin America, and popular dances in contexts
apocalyptic and poetic.

Create spaces for technical grammatical study, exploration, composition


practical and theoretical of Dances in their different genres and styles.

Promote the recreation and re-contextualization of the studied dances


through experimentation and creative production in relation to them.
Provide the student with methodological tools to connect with their
inner world and stimulate their creativity.
METHODOLOGICAL GUIDELINES
Introduce the student to the study of the various components of the Setup
Scene.
Introduce knowledge of various design methodologies and techniques
staging of dance performances, within the framework of various genres and
aesthetic lines of dance.
The approach to stage productions of various kinds (theatrical,
musical, choreographic, circus, cinematic that will take place through
of audiovisual material, with work guides for observation and later
analysis, allows the student to visualize and characterize the elements
interveners
Provide methodological tools to connect with their world
internal and develop their creativity in the staging of dance.
The analysis of the laws of choreographic composition and their application in
individual and group elaborations socialized and discussed within the
working group, it introduces you to a practical theory of composition
Encourage the student to become aware of how it impacts
the staging, the cultural aspects and coding in the diverse
discourses, genres, and styles of dance.

PROPOSAL FOR COMPOSITION CONTENTS


CHOREOGRAPHIC:

It basically deals with knowledge about the laws of composition.


to apply them in a choreographic speech and the auxiliary structures in
the process of choreographic composition: a study concerning space,
weight, shape, balance, volume, etc.

AXIS 1
The Choreographic Design.
The methodologies and techniques of design and choreographic assembly, taking into account
count the choreographic laws, grammatical codes of dance in the
various genres, styles, traditions, according to the approach of the dance work
and the staging
Axis 2
The stage space: types of stage.
Characterizations and definitions of each of them according to approaches and
postures in various apocalyptic contexts and genres and styles of dance.
Specific approaches and trends for Argentine folklore: Deconstruction.
Critical study.
AXIS 3
The Creativity and Personal Poetics of the Students.
Methodological strategies that contribute to connection with the world
internal, the subjective and collective imaginaries, memories, dreams, etc. The
originality in the artwork in dance. - The conventions and codes of the
dance in the various genres and styles in relation to staging:
Traditions and influences. -The Staging in the folkloric genre:
approaches, stances, styles, and trends.

INTERDISCIPLINARY RELATIONS:

This curricular unit is related to:


History.
Geography.
Language and Literature.
History of Art.
Universal History of Dance
Philosophy of Art.
Folloric Zapateo I and II
Art Education.
Language of Classical Dance.
Body Expression Dance.
Musical appreciation
Theater Workshop.
Argentine folklore
Costume and stage makeup.
Popular Dances I and II.
Analysis and choreographic productions.
Latin American Folkloric Dances I and II
Scenic Supports
Language of Folkloric Dance I and II
Folkloric Dances I and II
SUGGESTED BIBLIOGRAPHY:

COCOA FILE (ASSOCIATED CONTEMPORARY CHOREOGRAPHERS). Bridges and


Paths traversed by dance in Argentina. Ediciones Analía Melgar.
Editorial of the Four Winds.
-DORIN, P. COMPILER. ARAIS, O. AND OTHERS. 2007. Choreographic Creation.
Bs. As. Books of Rojas. University of Buenos Aires. LABAN, R. 1948. Dance
Modern Education. Buenos Aires. Paidos Editions.

SIRLIN, E.
Theatrical Pedagogy. INT. (National Institute of Theater. WILLEMS, E. 1979. The
Psychological Bases of Music Education. Buenos Aires. University Publishing.
ZIMMERMANN. S. Songs and Explorations. Paths of Theater Dance. Balletin
Dance. Editions. 2007.
–DINZEL, Rodol£o; (1992) "The Tango: A dance. That anxious search for the
freedom" Editorial Corregidor. Buenos Aires. '–
Art of Creating Dances
Aires.
- LIN Duran; (1993) "The manual of the coreographer". Edited by the Center
National Research, Documentation, and Information leaves dance I'J ose
Lime. Mexico.
Education Through Dance
Buenos Aires.
As.
–PUJOL, Sergio; (1999) "History of dance, from Lamilonga to the disco" Editorial
Emese. Buenos Aires. - VISHNIVETZ, Berta; (1996) Eutony. Education of
body towards the being. Editorial Paid6s. Bs.

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