Dance Revision

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  • Created by: mquaresma
  • Created on: 16-05-16 09:38
WHAT DO WE GET FROM OUR FOOD?
Water; carbohydrates; calcium; proteins; fribe; vitamins and minerals; fats and sugars
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WHY DO WE NEED TO WARM UP?
Reduce the change of injury and to prepare ourselves physically for the rehearshal/performance.
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WHAT ARE THE THREE MAIN SECTIONS OF A WARM UP?
1- mobilisation of joints; 2- cardiovascular activity; 3- stretching
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WHAT HAPPENS TO OUR BODIES WHEN WE WARM UP?
Muscles become more elastic; increase of blood flow in the muscles; pulse is raised; joints are mobilised
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WHY DO WE COOL DOWN?
Allow the heart rate to slowly return to normal; prevents injury
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WHAT SHOULD WE DO TO COOL DOWN?
Concentrate on your breathing- long, deep, breaths will help bring your heart rate down; gentle stretches using all of the body
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DANCE SPACE CHECKS
Floor- if there is any lit etc; temperature- if there is any windows etc
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ELEVATION AND LANDING
ELEVATION- Dancers should use their whole foot to move into the air, the toes should be the last thing leaving the floor; LANDING- should be the reverse of elevation, dancers need to use the whole foot and bend their knees.
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WEIGHT SHARING
Mutual trust and confidence are essential to work this way. You must talk through at your are trying to achieve with your partner before attempting anything.
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DEALING WITH INJURYS
R.I.C.E- Rest-stop activity: Ice- apply ice at a 10m interval for the first 24h to reduce pain and stop swelling; Compression-apply a firm bandage around the affected area to stop swelling;Elevation-raise the injury for 24h to reduce the blood flow.
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ACTIONS
•What is the body doing? •There are 5 basic dance actions: jumps, turn, gestures, stillness and travel.
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DYNAMICS
•How are you moving? •This describes the amount of energy required to perform a movement.(TIME + FORCE = DYNAMICS) eg: smooth,light,heavy,quick,slow etc
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SPACE
•Where is the body moving?•Levels-high middle or low. •Directions downstage,upperstage etc. •Air and floor patterns – Circular, zig zag, linear diagonal. • Height and width.
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RELATIONSHIPS
•what/who the body is moving with •dancer to dancer-canon, unison, Q&A, mirroring, symmetry, lifting etc. •dancer to space formations. •dancer to music- direct correlation, mutual coexistence, characterisation.
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TECHNICAL DANCE SKILLS
Alignment, co-ordination, balance, strength, stamina, flexibility
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HOW CAN YOU IMPROVE YOUR TECHNICAL SKILLS
You can participate in technique dance classes,rehearse alone or with a teacher.
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ALIGNMENT
•BEING IN ALIGNMENT IS BEING THE WAY THE BODY IS SUPPOSED TO BE SO THAT EVERYTHING CAN FUNCTION PROPERLY
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COORDINATION
•GOOD CO-ORDINATION MEANS BEING ABLE TO USE DIFFERENT PARTS OF THE BODY AT THE SAME TIME, SMOOTHLY AND EFFICIENTLY •MOST PHRASES OF MOVEMENT REQUIRE DANCERS TO HAVE GOOD CO-ORDINATION
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FLEXIBILITY
•FLEXIBILITY REFERS TO THE RANGE OF MOVEMENT YOU HAVE IN EACH OF YOUR JOINTS •IN ORDER TO IMPROVE OUR FLEXIBILITY WE SHOULD PRACTICE A NUMBER OF STRETCHES DAILY
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STRENGTH
•THE ONLY WAY A DANCER CAN IMPROVE THEIR STRENGTH IS TO PRACTICE DANCE TECHNIQUE EVERY WEEK, ENSURING THEY PUSH THEMSELVES TO THEIR MAXIMUM LEVELS •STRENGTH IS BASED IN MUSCLES SO REPETITION IS KEY TO IMPROVING THIS SKILL
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BALANCE
•DANCERS NEED EXCELLENT BALANCE TO ACHIEVE A HIGH LEVEL IN THEIR DANCE PRACTICE •GOOD BALANCE RELIES ON THE STRENGTH OF A DANCER'S CORE MUSCLES AND ANY OTHER MUSCLES INVOLVED E.G. THE LEGS
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STAMINA
•STAMINA IS THE ABILITY TO WITHSTAND PROLONGED PERIODS OF PHYSICAL OR MENTAL EFFORT •IN ORDER TO BUILD OUR STAMINA, WE REHEARSE! • RESPIRATORY EXERCISES
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WHAT ARE PERFORMANCE SKILLS?
•THE WAY YOU PERFORM MOVEMENT AND INTERACT WITH OTHER DANCERS AND THE ACCOMPANIMENT THESE SKILLS CAN BE DEVELOPED AND IMPROVED BUT SUCH IMPROVEMENTS USUALLY TAKE PLACE AFTER DANCE MATERIAL HAS BEEN LEARNT
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PERFORMANCE SKILLS
Projection, Sense of Style, Musicality, Communication of Choreographic Intent, Sensitivity to Others, Focus
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PROJECTION
•PROJECTION IS THE ENERGY AND POWER USED IN A PERFORMANCE •THIS NEEDS TO MATCH THE DANCE IDEA/THEME
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SENSE OF STYLE
SENSE OF STYLE •THE FEATURES OF A DANCE STYLE THAT MAKE IT DIFFERENT AND RECOGNISABLE FROM ANOTHER E.G. ELONGATED LEG MOVEMENTS AND USE OF POINT SHOES IS AUTOMATICALLY ASSOCIATED WITH BALLET
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MUSICALITY
•HOW WELL YOU DANCE IN TIME WITH THE MUSIC, WITH THE RHYTHM OF THE MUSIC AND WITH THE PHRASING OF THE MUSIC •TIMING - HOW MANY BEATS IN EACH BAR? •PHRASING - WHERE IS THE 1 COUNT IN THE MUSIC? •RHYTHM - THE ARRANGEMENT OF THE NOTES
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COMMUNICATION OF CHOREOGRAPHIC INTENT
•DANCERS SHOULD HAVE THE ABILITY TO SHOW EMPATHY WITH THE MOOD OR MEANING OF THE DANCE AND BE ABLE TO INTERPRET AND COMMUNICATE THIS •HOW DO WE SHOW CHARACTER IN DANCE?
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SENSITIVITY TO OTHERS
THIS MEANS HOW YOU WORK WITH OTHER DANCERS: •IN SPACE: CAN YOU WORK IN CLOSE PROXIMITY TO OTHERS, CAN YOU CHANGE FORMATIONS, DO YOU KNOW WHERE YOU SHOULD BE IN RELATION TO OTHERS? •IN TIME: ARE YOU MOVING ON THE SAME COUNT AS OTHERS
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FOCUS
•FOCUS IS WHERE A DANCER IS LOOKING AT ANY MOMENT IN THE DANCE. •THIS WILL ALWAYS DRAW THE AUDIENCE TO LOOK WHERE YOU ARE LOOKING
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MOVEMENT MEMORY
•REHEARSING A PIECE HELPS TO GET THE MOVEMENT CLEAR IN YOUR BODY, RATHER THAN IN YOUR MIND •THIS WILL ALLOW YOU TO FOCUS ON THE PERFORMANCE OF THE DANCE, AND NOT ON TRYING TO REMEMBER WHAT COMES NEXT!
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PHYSICAL SETTING:
•LIGHTING •PROPS •SET •COSTUME
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MUTUAL CO-EXISTENCE
•THE MUSIC AND MOVEMENT EXIST ALONGSIDE EACH OTHER AND BARE NO RELATIONSHIP •THE MUSIC DOES NOT AFFECT THE DANCE IN ANY WAY •SOMETIMES THE MOVEMENT AND MUSIC MATCH BY ACCIDENT
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DISASSOCIATION
•THE MUSIC AND MOVEMENT ARE PURPOSELY OPPOSITE TO EACH OTHER •FOR EXAMPLE, THE MUSIC MAY BE SLOW AND SAD BUT THE MOVEMENT IS LIGHT AND BOUNCY
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Other cards in this set

Card 2

Front

WHY DO WE NEED TO WARM UP?

Back

Reduce the change of injury and to prepare ourselves physically for the rehearshal/performance.

Card 3

Front

WHAT ARE THE THREE MAIN SECTIONS OF A WARM UP?

Back

Preview of the front of card 3

Card 4

Front

WHAT HAPPENS TO OUR BODIES WHEN WE WARM UP?

Back

Preview of the front of card 4

Card 5

Front

WHY DO WE COOL DOWN?

Back

Preview of the front of card 5
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