Composition Tools

for editing movement

Like good writing, movement should not be merely written in one draft.

Good dances undergo editing processes that help to clarify theme

and to build coherent, cogent structure, from the introduction,

through the body, to the conclusion.

Below is a set of compositional tools for the movement writer.

Some tools adapt ideas from word-processing programs,

others are drawn from music composition strategies.

Tools can be used individually, or in combination with one

another for added effect.

Augmentation

Spatial augmentation: to make movement motif larger.

Time augmentation: to draw the movement out over more time.

Diminution

Spatial diminution: to make movement motif smaller.

Time diminution: to do the movement in faster.

Transformation

To change the character, personality, style of a gesture. (e.g. taking a classical ballet movement and giving it a jazzy rhythm, or taking a phrase with neutral affect, and giving it a mood or personality.) This is generally, a dynamics shift, changing the size, timing, speed, or energy quality or all three for a new total effect.

Development

To explore the essence of a gesture and develop it, unfolding the thematic material with a sense of evolution, growth, or progression. Can be used to increase material volume, or just a s method to transform a gesture.

Accumulation

To add successive gestures (e.g. 1, 12, 123, 1234, etc.). Can be performed as visible accumulative process, or used as a method to generate material with a sense of organic flow or continuity.

Retrograde

To reverse the sequence (e.g. 1,2,3,4 becomes 4,3,2,1). Options include simply reversing the sequence of gestures, or fully reversing the material, as if a video playing in reverse.

Transposition

To relocate an element to another position, in level or on the body. (e.g. an arm movement could be transferred to the legs, or an element originally presented at standing level could be done on the ground, or in the air.)

Embellishment

To add a detail gestural element, often with repetition. (e.g. a hand twitch gets inserted every so many beats or with sporadic unpredictability).

Canon

An effect in which all parts perform the same sequence, but differing start time. In group work, each dancer does the phrase, starting at different delay intervals. In solo, an interesting effect to try delaying the start of other body parts when original version were in unison (e.g. doing a ballet “first port de bras, one arm leading by several beats).

Rotation

To take the original facing of the phrase and turn all or part of it to another facing in the space. In group form, two dancers could each have different facings of the same phrase to give a “cubist” effect.

Relocation

To relocate movement phrase in the stage area. Different stage positions have different expressive, emotive, or psychological connotations that can be used to amplify a feeling of the movement.

Mirroring

To do the phrase “on the other side” as in a technique class.

Cut

An idea adapted from word processing—don’t be afraid to simply eliminate material that may have been useful to the process, but is unnecessary to the emerging or final work. Good cutting tightens the thesis and the impact of the piece.

Copy/Paste

To reuse a gesture or phrase in one or more places or times. In group form, multiplying the number of dancers doing the phrase, or simply repeating good material more than once over the course of the overall work. Unlike literal text form, each copy/paste could also be developed or transformed to add evolutionary effect.

Font

An analogy from word processing, similar to “transformation” above, suggesting a shift in the style or personality of the movement. Also analogous might be ideas like making the movement “bold” (augmentation) or “italic” (perhaps a change in timing or energy to add special emphasis to one gesture.)

Color

Again, similar to transformation, perhaps in this case suggesting a mood or emotional coloration of the movement.

Spacing

To consider the relative positions of dancers (e.g. close, far apart) or the proper spacing for a given performance space.

Layout

To consider the spatial design of dancers relative to space (e.g. centered/off center, near/far to audience, symmetrical/asymmetrical, etc.). This is the “top down” view of the stage design.

Save As

An analogy which suggests making and keeping multiple versions of phrases for possible layering effects. In group form, each dancer might do different versions, or as a “development” across the duration work, the meaning of the gesture evolves.