The student should be able to:
1. Dominate the theatrical dance techniques’ fundamentals;
2. Perform the basic vocabulary of theatrical dance techniques, with corporal and dynamic correction;
3. Reproduce with fluency and precision, after demonstration, dance sequences in technical context;
4. Identify, characterize and describe specific motor skills to the techniques of theatrical dance;
5. Cooperate with colleagues in group tasks;
6. Interact with the teacher and/or colleagues, actively participating in the tasks;
7. Evaluate its performance and of peers, and its participation in group.
Study of the concepts and inherent movement principles to the theatrical dance techniques; Turn out/en dehors. Body alignment. Dynamic posture/stance. Transfer of weight. Opposition/counter pull. Squareness. Pull-up. Aplomb. Counterbalance. Rhythmic patterns. Movement dynamics. Coordination.
Study of the specific vocabulary of several theatrical dance techniques: Postures and balances, Pliés, Petits Battements, Rond de jambe, Développés, Relevés, Grands Battements, Assouplissements; standard steps, Turns, Jumps, Batterie.
The fundamental base elements of modern and contemporary dance technique: postures and balances, torso gestures, inferior gestures and standard steps, superior gestures, head gestures, turns, jumps, displacements.
Teaching-Learning of dance sequences, of long duration, constructed from video and/or created by the teacher.
The focus of practical lessons are in the acquisition and improvement of dance motor skills based on specific technical tasks (classical and modern dance).
The development of self-assessment through video recording benefits students by the connection between the visual external feedback and the critical components of the studied motor skills transmitted by teachers hosted in moodle (online system of FMH).
Concomitantly, we encourage the artistic performance, throughout the collaboration in dance exhibition at the end of the semester and driven to the school community.
Continuous assessment: Students must have at least 80% active attendance of the given classes.
A – Evolution of student’s performance (40%)
B – Practical final test (30%)
C – Final public presentation (20%)
D – Student’s self-assessment (10%)
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Hammond, S. (1982). Ballet: Beyond the basics. Palo Alto: Mayfield Publishing.
Lord, M., & Bruneau, M. (1983). La parole est à la danse. Sainte-Foy: La Liberté.
Sherbon, E. (1982). On the count of one: Modern dance methods. New York: Mayfield Publishing Company.
Golovkina, S. (1991). Lessons in classical dance. London: Dance Books.
Grant, G. (1982). Technical manual and dictionary of classical ballet. New York: Dover Publications.
Lawson, J. (1988). Ballet class: Principles and practice. New York: Theatre Dut Books.
Lewis, D. (1984). The illustrated dance technique of José Limón. New York: Harper & Row.
Ralov, K. (1979). The Bournonville school: Part 1. The daily classes. London: Dance Books.
Vaganova, A. (1969). Basics principles of classical ballet: Russian ballet technique. New York: Dover Books on Dance.