Dance Dance is the movement of the body in a rhythmic way, usually to music and within a given space, for

the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself. Dance is a powerful impulse, but the art of dance is that impulse channeled by skillful performers into something that becomes intensely expressive and that may delight spectators who feel no wish to dance themselves. These two concepts of the art of dance dance as a powerful impulse and dance as a skillfully choreographed art practiced largely by a professional feware the two most important connecting ideas running through any consideration of the subject. In dance, the connection between the two concepts is stronger than in some other arts, and neither can exist without the other. Although the above broad definition covers all forms of the art, philosophers and critics throughout history have suggested different definitions of dance that have amounted to little more than descriptions of the kind of dance with which each writer was most familiar. Thus, Aristotles statement in the Poetics that dance is rhythmic movement whose purpose is to represent mens characters as well as what they do and suffer refers to the central role that dance played in classical Greek theatre, where the chorus through its movements reenacted the themes of the drama during lyric interludes. Dance is a road that can that can quickly lead to injury if the body is not treated properly. A dancer often dances for the love of the movement, for the quest after physical perfection, putting in long hard hours in order to become professional. However, one must care for the body and its needs and limitations, or too much practice can be too much of a good thing. The Principles of Dance Space: Where the body is moving. A dance affects the way the audience sees the space where the dance takes place. The dancers may travel through space or move in one spot. When they move through space they go in different directions such as forward, backward and sideways and on various levels high, medium and low. They make different shapes with their bodies and transfer their weight so that they are balanced or unbalanced. The path they follow on the floor is called a floor path. In Suspended Falls the dancers move alone and together or with a piece of white cloth. They support each others bodies and use them as springboards. At times several dancers lift one dancer into the air. Body: What the body is doing. Sometimes the dancers move their whole bodies and sometimes only one part - a small movement called a gesture or isolation. Suspended Falls is a site-specific work, meaning it was created for a particular place a bridge over a river and waterfall. The dancers movements on the bridge help us think about the bridge and the water below it in new ways.

Time: How the body moves in relation to time. The speed at which the dancer moves slow, fast, speeding up, slowing down is called the time, or tempo. Suspended Falls has a moderate tempo, neither very fast nor very slow. It uses motifs that are repeated, developed, and varied throughout the dance. Dance, like music, theatre and film, exists in linear time. Unlike a painting or sculpture that doesnt change over time, dance moves through time as well as space. Choreographers often use repeated motifs to make it easier for the audience to read the dance. Two of the motifs in Suspended Falls are lifts and partnered turns. Dynamics: How the body is moving. When we talk about the dynamics of a dance we mean the kind of energy with which the dancers are moving. It might be strong or light; tense or relaxed. The dancers may seem to flow or their movements may be staccato or jerky. In Suspended Falls the dynamics are smooth, sustained and fluid every movement seems to melt into the next one. In fact, the movement never stops it is continuous, like the river running beneath it. At the same time it is energetic and the dancers tumble over each other like a waterfall. Relationship: With whom or what the body is moving. Every dance involves a relationship. Even in a solo the dancer has a relationship with the space. Dances may be made in any kind of grouping: apart, connected, solo, duet, ensemble, formations and so forth. In Suspended Falls the dancers relationships to each other and to the space are constantly shifting. A dancer is alone one minute, leaning and turning on another dancer the next. The bridge holds them over the water and their movements mirror the motion of the river. Contemporary dance "Contemporary dance" is a very interpretive style of dance that focuses on unconventional movements. It was considered unconventional because it shifted away from classical ballet and lyrical dance forms. Contemporary dancers were considered revolutionary, pulling from non-western styles such as African style dancing. Unlike classical ballet, contemporary dance does not have fixed movements, instead it is a search for new forms and dynamics. It focuses on oppositional movement, alignment, raw emotion, and systematic breathing. The term "contemporary dance" is sometimes used to describe dance that is not classical jazz or traditional folk/cultural dance[citation needed]. The hallmark of contemporary dance is an awareness of the limitations of form[citation needed]. Sub-genres recently defined by dance critics include non-dance, conceptual dance and pedestrian contemporary. Folk dance

The term folk dance describes dances that share some or all of the following attributes:

They are dances performed at social functions by people with little or no professional training, often to traditional music or music based on traditional music. They are not designed for public performance or the stage, although traditional folkdances may be later arranged and set for stage performances. Their execution is dominated by an inherited tradition rather than by innovation (although like all folk traditions they do change over time) New dancers often learn informally by observing others and/or receiving help from others.

More controversially, some people define folk dancing as dancing for which there is no governing body or dancing for which there are no competitive or professional performances. Social dance Social dance is a major category or classification of danceforms or dance styles, where sociability and socializing are the primary focuses of the dancing.[1] Social dances can be danced with a variety of partners and still be led and followed in a relaxed, easy atmosphere.[2] This compares to other major categories based on purpose:

Ceremonial dance Competitive dance Erotic dance Participation dance Performance dance

Many social dances are partner dances. In fact, quite often when spoken about social dances, ballroom or other partner dances are kept in mind. However it is natural to include in this category such groups of dances as circle dances, line dances, novelty dances, or simply club dancing in solo.

Choreography Choreography is the art of designing sequences of movements in which motion, form, or both are specified. Choreography may also refer to the design itself, which is sometimes

expressed by means of dance notation. The word choreography literally means "dancewriting" from the Greek words "" (circular dance, see choreia) and "" (writing). A choreographer is one who creates choreographies. The term choreography first appeared in the American English dictionary in the 1950s. [1] Prior to this, movie credits used various terms to mean choreography, such as "ensembles staged by"[2] and "dances staged by".[3] Choreography is used in the fields of cheerleading, cinematography, dance, gymnastics, fashion shows, ice skating, marching band, show choir, theatre, and synchronized swimming. Dance notation Dance notation is the symbolic representation of dance movement. It is analogous to movement notation but can be limited to representing human movement and specific forms of dance such as Tap dance. Various methods have been used to visually represent dance movements including:

Abstract symbols Figurative representation Track or path mapping Numerical systems Music notation Graphic notation Letter and word notations

The Basic Elements of Theatre Script/Text, Scenario, Plan: This is the starting point of the theatrical performance. The element most often considered as the domain of the playwright in theatre. The playwrights script is the text by which theatre is created. It can be simplistic, as in the 16th century, with the scenarios used by the acting troupes of the Commedia dell arte, or it can be elaborate, such as the works of William Shakespeare. The script, scenario, or plan is what the director uses as a blue print to build a production from. The Process: This is the coordination of the creative efforts usually headed up in theatre by the director. It is the pure process by which the playwrights work is brought to realization by the director, actors, designers, technicians, dancers, musicians, and any other collaborators that come together on the script, scenario, or plan. This is the works in progress stage.

The Product: This is the end result of the process of work involved. The final product that results from all of the labors coming together to complete the finished work of script, scenario, and plan, in union with all of the collaborators in the process to create the final product. This is what the audience will witness as they sit in the theatre and view the work. The Audience: Theatre requires an audience. For all of the arts public is essential. The physical presence of an audience can change a performance, inspire actors, and create expectations. Theatre is a living breathing art form. The presence of live actors on the stage in front of live audiences sets it apart from modern day films and television.