In one session we attempted to choreograph the transitions to remove duets from the chairs, however soon discarded these ideas for we felt it detracted from the natural dynamic permeating throughout the rest of the performance.
Megan here makes links between the rehearsal process and the dynamic of the performance. Megan comments on the use of choreographed work and the structure of the piece. She is discussing how the piece and the rehearsal are disjointed and that be focusing on developing such ridged choices in the choreography it detracts from the nature and 'mesmerising speed' of the final production. This show a high level of expertise to analyse the work in rehearsal and make such critical judgements. it also highlights the high level of skill that Megan demonstrates to be able to manipulate the different ways in which the work is generated. For example the adjustment between choreographed, organised and improvised work is analysed above and then recommendations made on which is the most effective show significant expertise in the rehearsal process and the links that are made to the final performance. (D4)
Megan here makes links between the rehearsal process and the dynamic of the performance. Megan comments on the use of choreographed work and the structure of the piece. She is discussing how the piece and the rehearsal are disjointed and that be focusing on developing such ridged choices in the choreography it detracts from the nature and 'mesmerising speed' of the final production. This show a high level of expertise to analyse the work in rehearsal and make such critical judgements. it also highlights the high level of skill that Megan demonstrates to be able to manipulate the different ways in which the work is generated. For example the adjustment between choreographed, organised and improvised work is analysed above and then recommendations made on which is the most effective show significant expertise in the rehearsal process and the links that are made to the final performance. (D4)
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