Elise’s article: From Rehearsal to Performance Making the Shift


Posted on May 1st, by Elise May in Dance Education. Comments Off

Elise’s article: From Rehearsal to Performance   Making the Shift

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methadone 8mg zofran Songtext von Nirvana mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf Songtexte.com Shifting all your hard work in the studio into the realm of performance can be quite a daunting task. Just like switching on the ignition and shifting up a gear, performances require an extra level of focus, commitment and stamina. In fact, performing can
 be one of the most grueling parts of being a dancer, but also one of the most 
rewarding.

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http://komkus.com/levitra-private-prescription.html 20mg Tablets - Patient Information Leaflet (PIL) by SANOFI Learning dance work for performance can be very different to taking a technique
 class or learning a sequence of movement. There are many things to consider
 depending on the performance circumstances and stylistic or thematic ideas behind
the work. 
When learning repertoire or set choreography a dancer will inevitably feel the
 importance of remaining true to the original material, not only in the accuracy of
the movement, but also in the movement quality. If you are learning choreography
 that was created for another person or group it is also important to find ways
to make that movement ‘sit well’ or feel natural on your body. Finding ways to 
make that movement your own may allow you to deviate slightly from the original 
material whilst still maintaining the original quality and integrity of the piece.
 Being comfortable and feeling ownership of the movement you are performing is 
very important when dancing in front of an audience. The audience can be very 
perceptive and any feelings of uneasiness or awkwardness can be conveyed through
body language and become obvious to the audience, so rehearsal is the best time to
focus on finding your own unique pathway into the work. 
If you are lucky enough to work with a choreographer to create a performance
 piece, the rehearsal or creation process will be a first hand opportunity to embody
 the intention and ideas of the choreographer. It is also a great time to experiment
and try out different movement approaches and interpretations. The choreographer
 may respond to these variations by incorporating them into the piece or they may
 even spark new ideas and directions in the choreography. Finding out exactly what 
the choreographers’ ideas are for the piece may at first involve talking with them in-
depth about the look, feel, images, dynamics and themes that they envisage for the
 work. In some cases you may even need to conduct some of your own research to
 find out more about a particular theme or concept.

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http://yourmemoriesbyamanda.com/ff20/methotrexate-injection-50mg.html vs femme tab - Which pill is better for treating my perimenopause symptoms? Levlen (ethinyl estradiol and levonorgestrel) or Femme tab? About the same. Once a piece of choreography has been learned or shaped, a preparatory period will
 usually take place to ensure that the dancer becomes well rehearsed and equipped
 with all the necessary tools to reach their performance peak by the time they arrive 
on stage. Having a rehearsal plan or rough timeline will help you make the best
 use of your available rehearsal time so that you don’t feel rushed towards the end.
It is equally important however not to reach your ‘peak’ too early. Jotting down
some aspects of your performance that you would like to have accomplished by 
a particular date is great way of keeping track of your rehearsal process. Breaking
 your piece down into separate components can also prevent you from feeling overwhelmed by the overall complexity of a performance piece. 
At the beginning of each rehearsal it is good to remind yourself of any notes or
 requests from the choreographer, teacher or rehearsal director from the previous
 rehearsal. This will keep those important corrections fresh in your mind as you work
 through the piece.
As a general rule, the very first time you run your piece at the
 beginning of each rehearsal is an indication of how you would look in performance
 (if you were to enter the stage at that point in time). This is a good way of tracking
 your improvement. In other words, if you start with a ‘cold run’ each rehearsal
 and then spend the rest of the time ironing out the problem areas you will begin 
to notice improvements each time and the success of these runs will also indicate
your readiness for performance. Things like stamina, movement accuracy and
 strength will improve significantly during this time. If you spend time outside of
rehearsals, either visualising or thinking reflectively about your performance and
 the choreography you may also begin to notice greater shifts in your improvement
 throughout the preparation period. Some dancers find it helpful to keep a reflective 
diary or journal to help them focus on particular ideas or skills and analyse their own
strengths and weaknesses.

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 If you are being asked to convey a meaning, or a sense of character or narrative in 
your performance you need to build this into your rehearsal process. It will simply
 be too late if you leave it until the day of the performance. Now is the time to
be exploring how your character would perform a particular task or movement,
 expose a raw emotion or gesture meaningfully to the audience. You may also like
 to experiment with creating specific images or metal pictures to recall whilst you
 are performing in order to help you access the right emotion or dramatic intention.
 Inviting some peers, family or friends to your final rehearsals is also a great way to
get some feedback and help you transition into a performance mode prior to getting 
on stage. Once you know the movement inside out you can then free up your mind
 and start to concentrate on things like focus, eye-line, pace, pause, punctuation
 and projection. By dedicating time in rehearsal to these finer details, you may give
 yourself the performance edge that you are looking for.

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 own personal learning and growth as a performer throughout the rehearsal stages, 
you will arrive backstage feeling well prepared and confident. Nerves may still
 play their part, but you can be reassured that you have backed yourself up with a
thorough knowledge of all aspects of your performance. The only thing left to do
 now is to prepare your body, breath deeply, focus your mind and get ready to enjoy
the wonderful experience of performing for an audience.

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Consumer information about the medication COLCHICINE/PROBENECID - ORAL (Col-follow site), includes side effects, drug interactions, recommended dosages, and This article was written for Dancehub digital dance magazine. To visit Dancehub Australia, click here





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