Dance Choreography

look for PROJECT SUBJECT TITLE Choreography TOPIC Choreograph two moves in the school symphonyal, High School tuneful ASSESSMENT TYPE 1 FOLIO PROPOSAL RESEARCH DEVELOPMENT Weeks 1-4 (Background Research) Plan for the year. Background look for history of choreography Send letter to Kenny Ortega and Mia Michaels in the States Analyse DVDs of tunefuls, Grease, High School melodious, Centre Stage, Bring It On Fringe and Festival Performances Research copyright laws and copying ex roleplay moves from the movie Weeks 4-10 (the audition direct) Send email to VN close auditioning techniques interrogate ET, ST, AP astir(predicate) auditioning experiences Interview BS about how she selects jumprs for musicals she choreographs Choreograph audition dance and pick out feedback Interview MB about what inspires her choreography Weeks 10-11 Teach audition piece and select dancers Weeks 12-14 Research famous choreographers and how race learn Weeks 11-14 Choreograph danc es to inform at the musical camp Attend camp and read dances and rehearse them Weeks 15-20 Continue rehearsals and polishing performances address my ideas for costumes for the dancers School Musical Performance BACK GROUND RESEARCH virtually CHOREOGRAPHY AND CHOREOGRAPHERS (and my an nonations in blue) Kevin ODay commencement at the top choreographer and dancer Kevin ODay, the red tiped dancer so familiar to us from his distinguished term of office with the company of Twyla Tharp (he toiled there eight long years), his duties as soloist with Ameri push aside b eachet Theatre, and his current membership in Mikhail Baryshnikovs White Oak Dance Project, has made a bravura leap into the tenuous, laborious world of choreography and emerged a winner. piss rises me realise that choreography isnt easy, and non e in truth bingle succeeds, not pull down experienced dancers) With astonishing aplomb, ODay, at thirty-two, mindms to defecate sprung full-grown into the argonna of making dances, forging a vocabulary that while tinged with bends nevertheless shapes movements and phrases at at a judgment of conviction formal, musical, inventive, and existently felt. realise my choreography leave probably show influences from teachers I reserve had) That his choreographic gifts should fox made themselves evident within the span of less than a year, and through and through only two abbreviated wee-wees, each under a distinguished aegis, is a tri plainlye to his finely honed dance sensibilities and to the eyes and minds of his champions, Baryshnikov and rooster Martins.Indeed, so strong was their belief in ODays talent and so positive was the auditory modality and critical receipt to these fledgling mildews that both directors instantly commissioned vernal deeds for their respective companies. (shows that if great deal count in you and guide and support you the choreography fuel become amazing. Also if roughlywhat event is so spectacular your ply provide catch noticed and contri simplye you far) On February 9. ODays second work for unsanded York City Ballet (still untitled at press time) go out be premiered.It is come down to a score by the youth English composer Graham Fitkin. Last December in Tokyo, White Oak unveiled ODays The Good Army, to music of John Lurie of the Lounge Lizards, with Baryshnikov as one of its dancers. This uncommon whirlwind of choreographic success (success is hard and uncommon ) all began in March 1994, when the White Oak Dance Project gave its first New York season at the New York State Theater. at that place was no question that ODays first ballet. entitled Quartet for IV (and mosttimes one, two or three , was the unqualified hit of the companys first New York appearance.While several plea authentics were garnered from Baryshnikovs small troupe, not the least be his own masterly and immaculate performances, the companys repertoire was short on originality or genuine interest. Whe n ODays moment came, audiences responded with an immediacy that indicated the relief they felt at finally encountering a work that, in its exuberance and emotional focus, proved as intellectually engaging as it was entertaining. This para shows that if something isnt original or interesting the audience average doesnt respond, alone when something amazing is seen in front them they react and now be much to a greater extent engaged) A few critics carped at what they considered ODays glaring Tharpisms, such as his noodling with her polycoordinations and her odd manipulations of phrasing. that some, notably Arlene Croce in the New Yorker, found this choreographic debut remarkable and worthy of attention. (His debut shows that even your first show can be great.Gives me hope) When only a few weeks later(prenominal) ODay presented his second ballet, genus Viola Alone (With genius Exception), set to Hindemith, created at the invitation of Martins for New York City Ballets prestigi ous Diamond Project II, the re main(prenominal)der of ODays gifts became even more(prenominal) evident. Here was a work of very particular craft and content. (Not all dancers can choreograph) Dance Magazine senior editor Tobi Tobias, writing about the Diamond Project premieres in New York magazine, stated, ODays ballet, the virtually vivid and engaging of the seven seen, shows him attempting to steer clear of the Twyla Tharpisms that ar his heritage. (still pauperisation to be individuals and splinter free from your influences)Then, describing the flow and structure of the ballet, Tobias concludes, At the end, Alexander Ritter gestures toward the onstage violist, as if to say, The c arfree days of my life at peace(p) nowlie in this music, but sentiment is so ruthlessly excluded from the earlier proceedings that the oldtimer elements of the piece remain lusty energy and bold motion, deftly marshaled. On speaking with ODay, one learns that the act of choreographing has long bee n part of his life as a dancer, a by-product of observation and, of course, desire I had alship canal worked in studios on my own whenever I could,. he says. Id lay down a video camera, set it up, and Id dance around. I was collecting material. (I will be doing this this year e. g. experimental look for) I learned from Twyla Tharp that if youre leaving to choreograph, you had to go into the studio by yourself and spend time working. You just had to work and work and work.And you had to work on your own instruction forward working with a group of people or even just two people. The point is, you had to wind off an understanding(a) of what you want from dancers before you start working with them. You cant just ginger nut things out of the melodic phrase. (This is excellent advice working by yourself before working with the class so you can better the piece. It takes a lot of time and lots of practice but this way you subsist how it looks and what to expect from the dancers ) The influence of Twyla helps me when Im in the studio altogether.You see, Twyla has a lot of ways of putting movements through a road test. Shell improvise, farm a phrase, then turn it into something very solid. She would too change the music. Within the span of an hour she major power change the music quaternion or five times. So, she harbors a body of material, and thats been her greatest influence on me how to put together a body of material. (a lot of trial and error will be involved, so must allow time to experiment) Thus, explains ODay, he, like Tharp, will evaluate things on is own body, sometimes to contrastive music, and create a patchwork that may ultimately be usanced in a work The more I try this, with different textures, different music, different road tests, different qualities of doing a movement, to see how far a movement can be stretched or shrunk. All these things serve to build a body of material, which might then go into forming a piece. Dance Magazin e, Feb, 1995 by John Gruen http//findarticles. com/p/articles/mi_m1083/is_n2_v69/ai_16686035/ NIGEL LITHGOWs line if the choreography is simplistic it is up to the performer to bring the routine to life. (So You Think You Can Dance) forget really apply to me as most of the students I will be working with fag outt have much experience so will have to have simple steps. This means that I will have to enforce that dancers have to be so energetic to really bring the moves to life. This shows that my choreography, although very all-important(prenominal), isnt everything. Theres a volumed responsibility on the dancers to bring the dances to life. I will share the quote with the group when its looking dull so they can bring it to life.My views on RESEARCH ON HOW TO TEACH from article in SACE STAGE 2 Physical Education Workbook, divergent methodologies (ways to teach or coach) Visual Demonstrations this is the most effective way of instruction dance. This is the main method I have us ed so far and its the method I will continue to use the majority of the production. This wont have to be done as much once the dance is learnt as the students have to lie with how to do it without me because I will not always be standing at the front. This method is so useful for them to get a picture of the dance in their head and how to do it correctly.Usually when we start a rehearsal and before I bring forth to teach a new-made dance I sit everyone down and stand out the front and do the dance flop so they know what the dance is meant to look like. Then I break down each move, visually showing the fling each step. This would best suit visual learners. Audible Cues when I am direction a dance from the beginning this method will only be used in meeting of minds with the visual demonstrations. Just verbally telling them how to do the dance wont work. This will be used also when they are doing the dance and I can call out the counts or arms straight , Point your toes etc. W hen I am instructing, have to ensure that instructions are short and simple so I dont confuse/overload the learner and once they know the moves the instructions can get more complex. This manifestly suits a verbal learner who understands best through written and spoken words. Manipulation havent used this methodology so far, but from knightly experience in dancing I know its very effective. I believe its more useful for beginners or those who struggle with dancing. Basically I have to physically put the somebodys body/arms/legs through the correct range of motion.Obviously there is a slight good concern here, I have to ensure I dont touch someone in the wrong way. But I withdraw I will start using this more curiously with arm movements as they can be quite tricky and visually and verbally showing them how to do it doesnt always work, Reflections about article Tips for Teaching Seven Principles of Good Practice http//honolulu. hawaii. edu/intranet/committees/FacDevCom/guidebk/ teachtip/teachtip. htmtechniques Use time well(p) very important time is everything, to get production ready on time. digest to keep reminding suck and they have to help. I have to altogether plan rehearsals and set realistic goals. Communicate high expectations count more and you will get more. reflects my way of commandment. I have such high expectations of this musical and have a vision of how good it will look. Expecting the cast to perform well is a gift for me as I will put in the effort to ensure it reaches this standard. Respect diverse talents and ways of learning have to ensure all dancers have opportunity to learn in ways that work for them.Seize the moment if people come and ask for clarification even though I might not have time to help them, I should as they are probably ready to learn at that moment. Involve the student in cooking this could help if Im stuck for ideas giving the groups c student residenceenges to come up with choreography. There is some student involvement in the freestyle parts where students get the meet to be productive and do their own thing. Move from simple to complex- I can use this principle in my didactics for sure If I teach complex choreography to begin with and then assess everyones modernisement who finds it easy and who finds it difficult.Then if everyone gets it and it looks too simple I can dress it more difficult. TELEPHONE INTERVIEW WITH ST (actor, singer, dancer) + My Reflections (in blue) a) What do you ring works well in auditions as a performer? Having confidence is the key to success. accept in yourself. For acquire a move just keep outlet I will have to honor these points to all the cast. They should be confident and believe in themselves and remind them to keep vent even if they set about mistakes. b) How does a dance audition commonly run?Get there and register (giving name, age, details experience). This is a good suggestion however, using numbers could be a bit intimidati ng for our students. We would get them to encounter out their details of experience etc You then sit in a waiting room most people warm up here. If it is an audition with a prepared dance you practice it. Wed give them time to warm up, but not in an opposite room Usually there would be 2 sessions with 40 dancers. You get called and line up and learn the dance in rows of four. First four would do the dance and then go to the back of the line.Because of the time constraints wed only have one session but I like the idea of doing it in rows and them moving to the back of the line There isnt usually a set warm up- done by the performers while they are waiting. Im considering doing a set warm up only because a lot of the performers are unpracticed and would not know what stretches to do. c) What auditions have you been in(predicate) in and why is that? Is it because of the way the auditions were run? It is mainly the auditions which make you ascertain really comfortable.You are alre ady nervous enough as it is and the places that make you feel expert and secure make you perform better. The environment makes big difference, for example you would be feeling scared auditioning in a spooky house so room with warm nice colours give it a good feeling. I will make an effort to be really friendly, welcoming and kind to make the students feel comfortable. A lot of them would never have danced before and I wouldnt want them to feel scared and not come back. In no way would I get angry, frustrated or grumpy if theyre not being cooperative. Ill be the nicest person I can try to be. ) Are the dances usually hard so the good people excel or easy so everyone has the opportunity to shine kind of than focus on the moves? Usually you would learn a dance that is every going to be in the show or a similar style to what is going to be in it. At first I wanted to do a different dance rather than one well use but after hearing this, and after talking to the director, I have persi stent to do the chorus of Were all in this together for the audition dance. e) Anything else you would like to add? You would usually receive a phone call, email or letter in the post about 3 eeks later saying if youre successful or not. Id have to discuss this with other teachers involved, but wed probably take 1-2 weeks to decide and let them know by hanging up the parts or telling them in person. You need a large wide room as there is nothing worse than trying to dance when it is crowded and squishy. Mirrors and bars are something you need but if its at school you might not have it. The auditions would usually be held in the hall but from past experience this is narrow and squashy. Ideally Id like them to be held in the spacious gym, but guess it depends on the availability of the gym.The main thing is to talk loud. With echoing rooms the noise can bounce off the walls and it is hard to hear which is difficult for people at the back. You are already nervous enough and this makes it much more stressful if you cant hear the instructor. This is a good point. Nothing is worse than not being able to hear the teacher, especially in a big room where theres lot of people. Im going to speak forte and clearly so everyone can understand. This also raises the issue if theres so many people in rows, its hard to see people up the backI withdraw this interview was really successful as ST gave me some really good ideas and insights. REFLECTIONS ON THE MOCK AUDITION AND WHAT I LEARNED ABOUT CHOREOGRAPHY On Monday I gathered 3 close friends to trial the audition butt. The aim was to teach the dance I had prepared for the audition and get some feedback on what the dance was like and how I went teaching it. I chose three friends with 3 diff levels of dancing ability one is a talented well coordinated dancer one is a competent dancer but inexperienced and one is not into dancing at all.I filmed the majority of the audition if I need it for future reference. I think this was a valuable task and I got so much out of it as I confront some hurdles but the main thing was they learned the dance in the allocated time frame. One thing I learnt during this mock audition is to be totally prepared. On the day I forgot the CD I was using. I also thought about what was a more appropriate method of teaching cladding the cast and therefore the moves being opposite direction or facing the same way as the cast with them not able to see what is going on the front of the body.I also had to think about how much I would teach at once. For example, teach 4 or 8 counts before renewing it. How competent did they have to be before we tried it to the music? I also demo the moves in different areas around the room so everyone got to see exactly what I was doing and from different angles. I found I needed to speak slower and clearer to G as she needed more explanations so I have to remember there will be a variety of standard in the room.Giving the cast the opportunity to do it without me, whilst I sit back and overhear not only gives me the chance to see how my choreography looks but makes the students think harder. From past experience I know that doing a new routine without the teacher demonstrating with you gets the routine drilled in your mind, especially as theyll have to do it alone/pairs at the audition. Giving the cast the opportunity to watch me and the way it is meant to be done will also help. Finally I think I have to show Im confident and dexterous with my choreography because I thought I looked a bit embarrassed and worried about what others would think.Things Ill do the same- filming, deconstructing choreography into 8 counts, demonstrate with them NOT participating, demonstrate with them following, face same way as cast then swap so they get to see the whole picture, stand aside and watch them do it alone, move around room demonstrating + giving advice, get feedback. Things Ill do different- be more create, more confident, speak with l ouder voice, dont get frustrated as everyone learns at different pace, get into it be OVER THE TOP, wait till theyre more competent before practicing with music. USEFUL ADVICE FROM VN about how she chooses successful dancers at the udition (from email)Compare the dancers to the strongest performer in the group. Other things like heights to make the sure the group is evenly balanced. How the performer presents themselves for an audition is also important. AUDITION PROBLEM A problem we encountered during this process was a large number of people pulling out after the audition and callback process This really worried me as I was stressed that everyone would pullout and we wouldnt have a big enough cast. After talking with the other teachers involved I realized that this was a positive.A smaller cast would be a lot easier to handle and would be easier to get 50 people looking plastered and uniform compared to 100. This number would also fit on the stage better and give everyone the op portunity to be on stage for most of the time. Another problem with picking parts was that we had a lack of boys to begin withI think I will have to learn not to stress too soft as things usually fall into place at the end. ETHICAL CONSIDERATIONS. keep in mind peoples feelings. A lot of these kids have never danced in their lives so I have to treat them with respect when teaching the dance and give them the time to pick it up.Not that I want to do this, but I can not laugh, or stare or give sarcastic comments or do anything to restrict them wanting to return to practices. Also when choosing parts I have to be aware that my friends are auditioning and not be tempted to favour them and give them important roles if they dont deserve them. I have to leave friendships aside and be unbiased, treating everyone fairly. I also have to remember not to copy the choreography from the movie. The part I did adapt for the finale is the only part I am really going to use.This just reminds me that someone else has spent so much time choreographing these dances and it is not fair if I take them completely and say they are mine. Not to mention legally this would not be allowed. I genuinely dont like some of the choreography in the movie so I dont want to take it and besides a lot of the choreography would be too difficult for our standard of dancers. So sticking with the another method I have just come up with ,where I play the music and just do what comes to my head seems like a good thing to do. PROBLEM There are not any huge problems at this stage.One thing that I have to go is remember to keep look intoing. I am doing a lot of choreographing at the moment which is obviously a positive thing, but I also have to remember that this subject is the question project. at one time the audition process is over I dont have to keep look intoing that but I do have to keep looking at ways of teaching and search choreographers and what makes other musicals good. In my last discuss ion Ms W told me I was not doing enough investigateing. FEEDBACK ON MY CHOREOGRAPHY FROM questionnaire to a third year Dance student at Adelaide Centre of the Arts (showed him the footage taken at the Musical Camp)What do you think of the choreography of Were All In This Together? Its great, for someone so inexperienced. Looked effective and strong as a large group. Obvious that its taken from the movie which is what your audience will want to see, but some of your easier modifications look cleaner. Some students are struggling especially some boys and some leads. What could be changed? Perhaps some of the hard moves could be modified/slowed down, especially in the Wildcats value at the end. Arms look messy and un-uniform in wave your hands up in the air.It doesnt even look like there are any set moves. In chorus, When we reach, we can fly, maybe arms could be simplified. Looks all over the place. What am I doing well in the area of teaching the moves? The way you break down every single move helps cast know where the placements are. Modifying moves as you go along is a positive as youre not changing it later when the old move has already stuck in their head. Like the way you demonstrate it alone first. What do you think I could do to improve? Louder voice Dont look as nervous, your body dustup makes you seem not confident.Stand closer to cast, feel free to mingle and help individuals. You did seem more clear and confident as time went on. What did the choreography look like so far in placement Quo? Looked great, loved the big chorus around the tables. Good idea doing it around one big round so everyone gets a feel for the directions. Good concept Brainiacs and book dance. Overall looks like a romp piece, shows great potential. What could be changed? Brainiacs dance needs to be sharper, maybe tell them to get into it a gnomish more (footwork needs to be the same at the end of the dance).Some small groups could have simple choreography. A lot of freest yle people just need to get right into it or learn how to freestyle better (show them some moves ) Slow motion needs more work (actual moves. ) I do understand this is a work in progress. pic pic DISCUSSION My notes How interrogation is busting Ideas developing through the look firstly looked at internet, dance magazines for info on choreography. Not all dancers can choreograph Was quite useful and made me more confident Its up to the dancers to make the choreography sing, so simple moves can second interviews with dancers+ choreographers about auditions to helpbe really effective (good to know as I will probably be me get ideas about running auditions and selecting the dancers. Was Creating a positive atmosphere is important to make performers feel really useful comfortable and get the best out of them (particularly important in our third experimental started getting down my ideas about the school with boys and inexperienced dancers) choreography for the audition Nee d to speak loud poop ran a mock audition to trial my choreography and practice Break choreography into small parts, e. g. 8 counts teaching it to a small group Make sure performers are confident with steps before adding difficulty by NEXT plan to look into learning styles and how to teach, so I get moredoing it to music nurture about how to teach the dances successfully Good to sometimes demonstrate facing the cast, but also facing same direction as them so they can follow Knowledge and skills I am developing and applying FEEDBACK FROM TEACHER Knowledge -Many things about ethical attachments in being a -Ms W said I need to remember that focus of the task is actually investigate, choreographer, such as not the choreography of the dances, that most of what I had done so far was how strict copyright laws can be. How important it is not to copy the thinking about the steps and how I will run the audition, so need to think exact moves of the dances in High School Musical , also how to get of more ways of incorporating research into it. this is true but am permission to obtain performing rights , tilt change the American charming nervous about what people will think of my choreography so I keep on flavour of it or the script in any way etc thinking about this) being completely fair when selecting parts for the musical have to be Suggested I analyse the DVDs of High School Musical and the Behind the professional and not let friendships influence my ends Scenes extras to get ideas. Also really needed to get on to organize visits Be aware of the abilities of the group to view performances. Many things about how to teach magnificence of things like giving Also suggested I undertake more research into the features of a well students a say where possible (even though this is pretty difficult withchoreographed dance and look at some speculative writing about choreography, dance would look a mess if I did this) so that I will be able to base th e decisions for my choreography on more Importance of using different teaching methodologies technical aspects drawn from the research. This would show that I have more Essential to be super organized ( have forgotten music CDs on a couple completely researched my topic. allow for ask the dance teacher for some of occasions is disastrous and dont look professional) suggested readings on this. How high expectations can be really productive- encourage performers to strive but not be too high that they cant achieve them Knowledge & Skills in Choreography importance of facing dancers but also showing them when facing the same way. Teaching routine in small chunks, then lots of repetition. Plotting patterns on paper and planning beforehand. CHOSEN CAPABILITY Really enjoying being part of the musical and assisting others to develop their creativity, as well as myself Learning a lot about being sensitive to others- particularly with learning to dance its pretty s cary and challenging for some so I really need to take that into retainer Have been getting feedback from a few people (teachers, director, stage manager etc) and winning it into consideration. Is really assistive Stage 2 Research Project Performance Standards Planning Application Synthesis Evaluation pic pic pic A Thorough consideration and Thorough and highly resourceful developmentinsightful synthesis of acquaintance, Insightful paygrade of the research refinement of a research of the research. skills, and ideas to lay down a processes used. topic. In-depth analytic thinking of information and well-developed research outcome. Insightful reflection on the nature of the Thorough planning of researchexploration of ideas to develop the Insightful and thorough substantiation ofchosen potency and its relevance to processes that are highly research. key findings central to the research themselves and the research project. appropriate to the research Highly effective masking of knowledge outcome. Well-considered and insightful reflection topic. and skills particularised to the research topic. Clear and coherent expression of ideas. on the research outcome and its value to themselves and, where applicable, to others. B Consideration of the main Considered and mostly resourceful Considered synthesis of knowledge, Considered evaluation of the research area of research and some development of the research. skills, and ideas to produce a processes used. refinement of a research Some complexity in analysis of information well-developed research outcome. Considered reflection on the nature of the topic. and exploration of ideas to develop the stay of most key findings chosen capability and its relevance to Considered planning of research. central to the research outcome. themselves and the research project. research processes that are Effective application of knowledge and Mostly clear and coherent expression of Consid ered reflection on the research appropriate to the research skills specific to the research topic. ideas. outcome and its value to themselves and, topic. where applicable, to others. C enough consideration of a Adequate development of the research. Adequate synthesis of knowledge, skills, Recount with some evaluation of the broad research topic, but Adequate analysis of information and and ideas to produce a research outcome. research processes used. little evidence of refining exploration of ideas to develop the Substantiation of some key findings Reflection on the relevance of the chosen the topic. research. central to the research outcome. capability to themselves and the research Satisfactory planning of Adequate application of knowledge and Generally clear expression of ideas. project. research processes that are skills specific to the research topic. Reflection on the research outcome and its appropriate to the research value to themselves and, where appl icable, topic. to others. D Basic consideration and Development of some aspects of the Basic use of information and ideas to piffling comment of the research identification of some research. produce a research outcome. processes used. aspects of a r esearch topic. Collection rather than analysis of Basic explanation of ideas related to theSuperficial reflection on the relevance of Partial planning of research information, with some superficial research outcome. the chosen capability to themselves and processes that may be description of an idea to develop the Basic expression of ideas. the research project. appropriate to the research research. Some reflection on aspects of the research topic. Superficial application of some knowledge outcome and its value to themselves and, and skills specific to the research topic. where applicable, to others. E Attempted consideration and Attempted development of an aspect of the Attempted use of an idea to produce a Attempte d description of the research identification of an area of research project. research outcome. process used. interest. Attempted collection of basic information, limited explanation of an idea or an Attempted reflection on the relevance of Attempted planning of an with some partial description of an idea. aspect of the research outcome. the chosen capability to themselves and aspect of the research Attempted application of one or more skillsAttempted expression of ideas. the research project. process. that may be related to the research topic. Emerging awareness that the research can have a alue to themselves and, where applicable, to others. My topic and question. To choreograph two dances in our school musical, the much anticipated High School Musical. Really interested in dance. Have been doing calisthenics since I was two and am member of the Junior Crows Cheerleading Team. Have been in two shudder Eisteddfod Teams. Thrill of performing gives natural high and experiences have brought lifelong memories, lifelong friends and lifelong skills which will get me through life. Want to try something new now, still in dancing field but in different direction where I can have a say in the choreography and what is going on.Relevance of The Chosen Capability Citizenship I will be very involved in, and contribute to, the school community. Will have to show understanding of other peoples perspectives all along. Will be winning action to contribute to the school community objectives of giving students opportunities to develop their talents (artistic) Will be asking for and taking notice of peoples feedback basically giving them a say in the choreography. Isnt that state? Research processes Background Research- using internet, magazines, journals, newspaper articles. Research topics like Choreography, choreographers, reviews of High school Musical, interviews with cast etcAnalysing performances of musicals on DVD, during the Fringe, TV shows like Dancing With the Stars, So you think you can dance Adelaide Fringe or Festival Shows Interviews with dancers choreographers, I know + to get feedback on my choreography Will have to work with and discuss with many others, e. g. the director, stage manager, costume designer, all the performers, choreographers. Be open to suggestions Experimenting with different routines (often in small groups Ive got to think of the ethical considerations too e. g. -Safety of the performers make sure choreography is safe. -Privacy get permission from people I interview them -Plagiarism must make my own steps original and not copy the choreo Suitability to audience- make sure moves are suitable to audience of all ages and not offensive in any way. My essence The video of the dances + an oral to my teacher explaining my choreography. My Outcome The video of the dances + an oral to my teacher explaining my choreography (14) This students research development was presented in large scr ap book folios, too large to reproduce as an exemplar. The following is a filling of this evidence, reduced to 10 pages, for inclusion in the students portfolio to be submitted for moderation and marking. This selection of evidence, with the student notes to record the discussion, can be used for moderation purposes to confirm the teacher assessment decision for Assessment theatrical role 1 Folio. CommentsOn balance the Folio is indicative of a B standard. Planning The research topic is well defined. Thoroughly considered research processes, which are appropriate to the task, as well as steerable and ethical, have been planned. Application The research is developed in a mostly resourceful and considered manner, including web-based research on choreography, features of successful musicals, how to teach and the audition process. Feedback from more experienced choreographers, has been sought although evidence is not provided of the way the research develops in response to this. At times, there also appears to be an over emphasis on doing the choreography. education to develop the research has been methodically collected and documented. There is also some evidence of information being analysed in order to develop the research. Some complexity in analysis of information and exploration of ideas to develop the research is evident, such as in the responses to some of the sources located, interviews and the mock audition conducted. Knowledge and skills specific to the topic are applied in a highly effective way, such as in metric planning of patterns for different parts of the dance, preparation for the auditions. Assessment Type 1 Folio Assessment Type 2 Research Outcome Assessment Type 3 Evaluation