![]() The illumination of the performance area. Levelsĭistance from the ground: low, medium or high. Sensory perception (or awareness) of movement and position. IsolationĪn independent movement of part of the body. Intentionįinding the meaning that is in the movement or finding the movement that is in the idea. In-the-roundĪ performing area with the audience seated on all sides. ImprovisationĮxploration or generation of movements without planning. Shapes or patterns created in space by dancers. The overall shape and structure of a dance. Use of the eyes to enhance performance or interpretative qualities. The range of movement in the joints (involving muscles, tendons and Lighting, set, properties, costume and aural setting. Use of the face to show mood, feeling or character. Lengthening one or more muscles or limbs. Expressive skillsĪspects that contribute to performance artistry and that engage the audience, such as focus and musicality. ExecutionĬarrying out actions with the required intention. ![]() EpisodicĪ choreography with several sections, linked by a theme. End-stageĪ performance space with the audience on one side also known as ‘end-on’. The action of ‘going up’ without support, such as in a jump. Elements of danceĪctions, space, dynamics and relationships. The qualities of movement based upon variations in speed, strength and flow. The way in which movement material is manipulated. What the dancer wears for class and rehearsal. Where the choreographer collaborates with (or is) the film-maker where the intention is to produce a dance work in a multi-media form that cannot be achieved in live performance. Where dance and film are both integral to a work this includes documentary, animation, dance for camera and a screen adaption of a stage work. Critical appreciationĮvaluation of dance based upon knowledge and understanding, including original insights. When dancers perform different phrases simultaneously. CostumeĬlothing worn by dancers in performance. The ability to start and stop movement, change direction and hold a shape efficiently. Movements or shapes that have nothing in common. Constituent featuresĬharacteristics of choreography such as style, stimulus, subject matter, number/gender of dancers, action content, choreographic principles, form and structure, physical and aural settings. Perform actions or shapes that are similar to but not exactly the same as another dancer’s. The most significant moment of the dance. Choreographic processesĪctivities involved in creating dance such as improvisation, selection and development. The aim of the dance what the choreographer aims to communicate. Methods used to develop and vary material. The way in which a choreographer makes the dance. BinaryĪ composition in two parts or sections. ![]() BalanceĪ steady or held position achieved by an even distribution of weight. ArtistryĪn audible accompaniment to the dance such as music, words, song and natural sound (or silence). The aim of a dance what the choreographer aims to communicate. Recognition and understanding of the qualities of dance. AlignmentĬorrect placement of body parts in relation to each other. Air patternĪ design that is traced in the air by part of the body. When a dancer performs a series of movements and others join in at different times until all perform in unison. What a dancer does eg travelling, turning, elevation, gesture, stillness, use of body parts, floor-work and the transference of weight. AccessoryĪn additional item of costume, for example gloves. Students should be familiar with and gain understanding of these terms. French orielle, Spanish oreja are from Latin auricula (Medieval Latin oricula), diminutive of auris.Definitions of key terms used in our GCSE Dance specification (8236). Phrase walls have ears is attested from 1610s. To be wet behind the ears "naive" is from 1902, American English. ![]() (but compare Old English earde "having a handle"). Meaning "handle of a pitcher" is mid-15c. Until at least the 1880s, even some medical men still believed piercing the ear lobes improved one's eyesight. The belief that itching or burning ears means someone is talking about you is mentioned in Pliny's "Natural History" (77 C.E.). In music, "capability to learn and reproduce by hearing," 1520s, hence play by ear (1670s). þe harde harte of man, þat lat in godis word atte ton ere & vt atte toþir. "organ of hearing," Old English eare "ear," from Proto-Germanic *auzon (source also of Old Norse eyra, Danish øre, Old Frisian are, Old Saxon ore, Middle Dutch ore, Dutch oor, Old High German ora, German Ohr, Gothic auso), from PIE *ous- "ear" (source also of Greek aus, Latin auris, Lithuanian ausis, Old Church Slavonic ucho, Old Irish au "ear," Avestan usi "the two ears").
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