31 - 40 of 63 results for: DANCE

Fundamental techniques and approaches used in the creation of dance. Basic elements of composition including: style, form, theme and variation, and phrasing, development of movement vocabulary, symmetry and asymmetry, explicit versus abstract methods of expression, elements of time, quality and use of space, motif, and repetition. May be repeated for credit.

Students practice, compose and combine the languages of dance, gestural movement, music and text, to render complete expression in performance. Suitable for dancers, actors, spoken word artists and triple threat performers to devise original performance, dance and theater, culminating in an end of quarter showing.

Rehearsal experiences and techniques embedded in the reconstruction of repertory by three artists whose collective works represent differing approaches to the choreographic process. May be repeated for credit.

Collaboratively directed by Ketley and Frank, students will create dance material prompted by weekly interactions with residents of Lytton Gardens Assisted Living Residence. Students will meet twice weekly: once in studio on-campus, and once on-site with Lytton residents. Drawing from interviews and interactions with Lytton residents, students will engage in an evolving rehearsal process including movement score creation,, aesthetic discussion, revision with active involvement of the residents, and performance. The course culminates in performance(s) of the dance work for Lytton residents, staff, and families on-site at the end of the quarter.

Collaboratively taught by choreographers and Stanford dance faculty Alex Ketley and Diane Frank, this is a body-based investigation and studio class. As a class we will take a conspiratorial approach toward choreographic processes that insure breakthrough moments of innovation as students investigate, create, and eventually perform their own dance works. Both instructors have a wide range of choreographic experience which they will use to guide students through a myriad of approaches they can deploy when devising new dance and physical performance. Pre-requisite: A curiosity about making your own work and diversifying your understanding of movement generation and the infinite possible forms dances can take. Dancers of all genres, training backgrounds, and levels of experience are strongly encouraged to enroll. The quarter of studio exploration work will culminate in a public performance of the created works during the last week of class.

What happens when Hip Hop meets "Fosse", "Aida", "Dream Girls" and "In the Heights"?nThe most amazing collaboration of Hip Hop styles adapted to some of the most memorable Broadway Productions.nThis class will explore the realm between Hip Hop Dance and the Broadway Stage. Infusing Acting thru dance movement and exploring the Art of Lip Sync thru Hip Hop Dance styles.

Developing Creativity In Dance Robert Moses Course description: This introductory course explores the creative process in dance. There are many effective ways to approach creative expression, and this course will utilize multiple approaches, both in series and in parallel. Parallel processing and multitasking will become the dominant mode as rational, intuitive and physical skills merge. Processes will include changing perception, design by analogy, quick adaptation to changing situations, musicality, overcoming creative blocks, and stress reduction to relax into a more creative state of mind. Class sessions will be primarially practice, with two-thirds of the class time spent in the dance studio, creating ways of moving, to embody the concepts that will be detailed in the discussion sessions. Previous dance experience will not be required to take this course. Rationale: Dance in the University plays a vital role in the experience of self-definition. The opportunity to create dance offers students the means to experience the body in new ways through diverse forms of movement. Students come to understand dance as a conduit for impression and expression in society. It becomes a means of giving physical voice to the most private and powerful aspects of an individual's understanding of himself in relation to the world.

Structured studio practice reviewing the basics of ballet technique including posture, placement, the foundation steps and ballet terms, and progressing to more complex positions and combination of steps. Emphasis is placed on improving forms, developing coordination and connectivity, securing balance, increasing strength, flexibility, sense of lines, and sensitivity to rhythm and music.

Two hundred years of waltzing: Regency era waltz (1816), Vienna in the 1830s, redowa and mazurka waltz variations, waltz in 5/4 time, the Russian Mazurka Quadrille, pivots, 20th-century hesitation waltz, tango waltz, Parisian valse musette, 1930s Boston, 1950s Bandstand-style waltz, swing waltz. Each form is explored for possible adaptation to today's non-competitive social dancing. May be repeated for credit two times.