From 186-7, the author talks about the difference between a dancer and a dance artist and how technique is the foundation for any sort of art. Since both expression and technique can be viewed subjectively, can any dance, like other visual arts, be considered art? Where is it a body movement to a dance to “true” art? Where are the lines and who draws them?
According to the author, there are many things that a dancer should do but should these things be used to rate the dancer? If a dancer isn’t able to perform a move with the precision the viewer is expecting, does that have to mean that the dancer didn’t work hard enough or isn’t disciplined enough to perform the move to perfection? (190-191) Also, if repetition is “key to unifying a work in time,” how would a choreographer know how much repetition is acceptable before the performance becomes boring? (210)
The passage says that the rondo form of dance has the performance start at, and later return to, a “home” section. This home section – is it the central idea behind the dance? Does the home section essentially define and set the outline for the remainder of the dance, like a thesis sentence for an essay or the plotline of a movie? Is this set in stone, or can the “story” of the dance twist and turn as the choreographer wishes? In the case of very long dances, can the home section be neglected for a long period of time and still retain the same impact?
People can understand the meanings behind visual arts, such as paintings, by directly observing objects they see. But at the beginning of the Chapter fourteenth, the author admits that he once misinterpreted the meaning behind a dance (189). And also, at the end of the Chapter fifteenth, the author also points out that in order to understand the real meaning behind a dance, people should “watch a great deal of dance (216)”. So compared with visual arts, are dances more difficult to be understood?
In the beginning of Chapter fifteen it says that “the dancer is the dance- literally the embodiment of choreography- it is easy to mistake the dancer for the choreographer (although sometimes she or he is). ” At the end of the chapter, it says that “The only way to master being able to separate the choreography from the performance is to watch a great deal of dance”.
I’m confused as to where the line is that separates the two. The chapter tries to explain it by talking about choreography and form but is there a real difference or is it just a fine line? Is it always so or does it vary from dance to dance?
Is the author’s claim that unfit dancers are less likely to get hired indicative of an injustice within the dance industry (similar to the modeling industry), or does that logic not apply because dancing is a physical activity that tends to lead to a certain body type regardless?
How could choreography possibly express a love of “plant life” when plants don’t even move? (207)
How is the emphasis on the dancers’ eye movements affected when they perform in a large hall where the audience members are far away from them?
The word “energy” is used a lot. What does it mean in regards to dance?
Tamar Lichter
When choreographers are forced to make a dance for a date, does it end up with the same emotion as when they make one from fun? (206-207)
Is there a specific body type, such as longer limbs, that make dancing look better? (208)
-Lawrenzo Lue
Is there any one aspect of dance that is more important than another? Also, what is the difference between performance art and dance?
