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DANCE 10
Name of Learner:

Grade & Section:

Skill Adviser:

Date __________________________________________________

Learning Activity Sheet

RECOGNIZES THE EFFECTIVE PLANNING IN MOUNTING DANCE PRODUCTION

I. LEARNING COMPETENCY

Defines the meaning of dance production and its components

II. BACKGROUND INFORMATION FOR LEARNERS

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 DANCE PRODUCTION

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What is a Dance production?

When the audience takes their seats in a theatre and the lights go down,
a magical hush fills the air.  The curtain goes up, the lights display splashes of
color and the dance begins. The audience, concerned only with what is
happening on stage in the present, rarely thinks about the long process that
has brought the dancers to this moment. It would be surprising for some to
realize exactly how much work and energy goes into mounting a dance
production. An incredible amount of work has to be done in addition to
creating the choreography and holding rehearsals.

When you think of the art of dance, what you’re likely to think of
depends on who you are; the way that dancers and even choreographers are
likely to see the art of dance can be quite a bit different from what their
audience sees. Most of the time when a dancer or choreographer thinks of the
art of dance, they think of performance, perhaps of movement design; their
idea of the art will often be very much centered around their own experience.
The audience has a better view, though, because as profoundly artistic as
movement and performance can be, the art of dance is richer, more involved,
and much more complex than that. There’s a lot more than just movement on
stage; there are costumes and makeup, lighting design and sound, sometimes
even original music. There are artists backstage running light boards and
mixing consoles, others taking care of the front of house, and still others
whose art is publicity or administration.

Dance Production is and always has been a collaborative

effort. Being among and working with many people who assume a wide
variety of roles, titles and responsibilities. The task of planning and organizing

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a dance concert is an overwhelming and sometimes exhausting undertaking.
Therefore, it is crucial to have a well-thought-out plan of action and adhere to
the timing and schedule of that plan. Every production is unique. There is
constant overlap and combining between areas of responsibility that are
worked out from show to show. What worked in a previous show, may not
work in the current show. As a student, choreographer or performer, you need
not know how to do all the numerous jobs associated with the producing of a
dance concert, but you should know who does what. Example, if a stage
light burns out, you would know who to tell or if you needed a table and chair
in your dance, you would know who to ask for it.
Most dance productions engage the following personnel:

 Artistic Director, over sees entire production and is responsible for

the overall aesthetic and artistic vision of the production and makes
all final decisions relative to all artistic issues. One of the many
responsibilities of the artistic director is to choreograph for the
production and/or invite guest choreographers to create dances that
will be performed. Once it is determined which dances will
appear/perform, the artistic director programs the dances so that
they are performed in an appropriate concert order.
 Stage Manager, runs all rehearsals – tech & dress, assigns dressing
rooms, in charge of sign-in, is basically responsible for everything that
happens backstage. The stage manager is also responsible for ‘calling
the show’; giving directions for the sound and lighting cues. The stage
manager’s ability is crucial to the overall success of the performance
and usually has an assistant to help with the details.
 House Manager, is responsible for and runs everything in the front of
the house, including tickets/booth, all ushers and vendors.
 Lighting Director runs the show from a light board/booth and is in
charge of all lights on stage, in the house and follow spot.
The Lighting Designer transforms the stage space and helps
choreographers ‘say’ what they want by making sure all lighting
instruments are strategically placed on the stage. Theatrical light,
which is entirely unnatural, fosters sight and insight; it is a
subliminal whisper providing emphasis telling us what to make of
what we see. Light provides a theatrical feel to the dance that most
choreographers desire.
 Technical Director, is in charge of all equipment, instruments
backstage and technical aspects of the performance, including
hanging lights and building any sets. The technical director usually
has a ‘tech/stage crew for assistance.
 Audio Engineer, is in charge of all sound equipment and projections.
 Artistic Collaborators are; costume designer & construction,
seamstress, hair & make-up artist, scenic designer, musical director,

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 composer(s) live accompanist, prop master/coordinator, in charge of
building, moving and storing. A successful dance concert invariably
leaves the audience with the feeling of having had a significant
experience, whether emotionally moving, visually stimulating,
kinesthetically exciting or simply clever and entertaining. That’s what
this class will attempt to do! Nevertheless, there are some factors,
apart from those universe rally cited concerning excellence of
choreography and its execution that can be isolated and profitably
discussed. These are the mundane problems that invariable confront
anyone trying to encourage more effective dance performances. Who
should perform and who should choreograph? One of the most
difficult problems encountered involves the question of how to select
dancers and choreographers for a performance. The dilemma. Given
the many pressures to perform that is exerted by today’s young
dancers, it is common and in fact, inevitable that this process will
raise conflicting feelings in students trying to uphold the standards of
their art without ceasing to respect the aspirations of their student
peers. There are of course, what we call “natural” performers. These
are the performers that draw our eyes immediately upon the opening
of the curtain or the beginning of the dance, regardless of how little
training or experience they may have had previously. But for most,
performance is something that is learned, and part of that lesson is
learned from onstage experience. Without an opportunity to perform,
this ability may not be completely developed. Likewise, if a
choreography is not shown to an audience, its strengths and
weaknesses will never be fully illuminated. Given the primary need
and desire of high artistic standards for works presented to an
audience, the importance of paying careful attention to the creative
and technical level of the performers and choreographers cannot be
overestimated. There are various types of productions. For
example, Workshop, implies immediately that the production to be
viewed is going to be offered on a relatively modest
scale. Demonstration, is a term commonly used to designate an
informal showing of works. There are other terms that may be used to
denote steps before the final category of Concert.  This class will
produce a Dance Concert.      
 The time of performance can be varied effectively with results
appropriate to different levels of proficiency. An evening performance
is always more formal than a noon or afternoon showing of dance
works and evening audiences can be expected to be more demanding.
That is not to say that because one performs a matinee, one gives less
than 100%, on the contrary, one gives 200% to the matinee audience!
 Costumes and lighting are crucial to any work of
dance. Choreographers must consider the effects of costumes and

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 lighting. Elaborate costumes in a two-minute work composed of
simple ‘step-together-step-touch’ patterns may mislead the audience
into expecting a work of a more substantial nature. Whereas the use
of basic leotards and tights might be much more effective… and
maybe an imaginative use of color can be brought into play to
distinguish the roles of dancers or divide the stage space.
Choreographers must also consider the effects of lighting.
Complicated light plots often times over power a dance or perhaps do
little more than to emphasize the defects in a piece that is itself
simple in its realization.
 Scaling your choreography. It is common and natural for less
experienced dance students to undertake unrealistic choreographic
themes or projects beyond their technical level and the maturity of
their life experience. The most common undertaking seems to be the
preference for grandiose dance themes that stand little chance of
being developed successfully into a coherent dance. It’s okay to
develop and create from simple. Less ambitious material or themes
can be choreographed very effectively by less experienced students
and is just as impressive in performance. Psychologically subtle and
metaphysical themes are best left for the more experienced
choreographer. With that said, if the movements themselves are
technically beyond the performing capability of the dancers, the effect
will only magnify the limitations of each performer… unnecessarily.
 The designation of a performing area or stage can be made
anywhere. While the possibilities for defining the stage area are
virtually endless, this class is limited to the studio and the small or
little theater. (seats less than 450)     
 There is an artistic challenge and responsibility for everyone
involved that must be met if the dance production performance
is to be successful. The success of the production is in your
hands, are you ready?
 Dance is perhaps the most hedonistic of the arts simply because
of the fact that movement in itself is a pleasurable
experience. The more one becomes aware of and sensitive to, the
sensuous feedback of moving, the more one can become absorbed in
the self. Here lies a danger for both the choreographer and dancer.
The selective eye needs to be always on guard to ensure that the joys
of movement are not limited to the experiences of the participants
themselves but can be transmitted to an audience, which has given
up both time and money to sit in attendance. The inability or
unwillingness to communicate movement in a medium that by its
very definition is a performing art only serves to alienate the audience
and thereby nullifying the power of dance.

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  The choreographers’ attitude toward the audience is every bit
as important, if not more so, as the dancers’ attitude toward
performance! Dance is a performing art and as such requires the
physical presence of an audience at a certain time and a specific
place. A performance is conceived with the idea of its being presented
to someone. This thought should not be lost sight of in the course of
preparing for the production. It is especially easy for those absorbed
in their work to confuse the expression of the art form with what is
little more than ego indulgence.
 Your attitude toward performance is extremely important. It is
vital that everyone knows from the outset the importance of working
with their full concentration, commitment, honesty and integrity
toward the performance. At rehearsal, your attitude and goal must be,
the performance! Always, dance like no one is watching. To instill this
attitude is not an easy task. The weeks and months of intensive
rehearsals needed to prepare a work for the stage can and will be
exhausting… excruciatingly so! The practice that leads to the more
perfect execution of movement too often becomes an exercise in rote
mechanical action. This is what fosters and perpetuates the
ridiculously ‘naïve’ attitude that… “I won’t do that when I’m on stage
or the audience is present” your spontaneity and inspiration to dance
will return. That’s not going to happen… 99.9%, you will perform just
as you rehearsed. This refrain betrays a false sense of security and is
a dangerous assumption. There is no question that the presence of an
audience affects performers. The excitement generated raises the
adrenaline level of the body and a heightened awareness results that
makes the performer more alert and more sensitive than in rehearsal.
But that same excitement can be the thing that destroys your
performance. For example, tension never seen previously during
rehearsals suddenly becomes evident in the neck and limbs of your
body… Balance, apparently secure in the studio rehearsal is
destroyed because of nervousness. Other less subtle changes may be
detected in your face. By constantly stressing an ‘attitude of
performance’ during the sometimes, grueling days of rehearsal makes
the transference from the rehearsal studio to the stage more natural
and a much better performance.
 The little theater or theatre also provides an intimate
performance area. However, the fact of having an actual stage,
installed lights and other accoutrements of the theatre brings higher
expectations and greater formality than that of the studio. This is
natural and desirable. There is a special separation between the
audience and performers that that is not only literally existent, but
also psychologically. It’s here that the performers must try to bridge
the gap. Still, because of the size of the theatre and the distance from

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 performer to audience, the intensity required for projection is not
overly demanding or uncomfortable. Now the large theatre that seats
500 plus patrons is a different situation altogether!
 The studio is the least pretentious setting for a dance
performance and has the advantage of providing very close
contact with the audience. Generally, this setting gives members of
the audience a special feeling of goodwill toward the performers;
perhaps the close proximity of the two heightens audience
responsiveness. This atmosphere is especially important for less
experienced dance students. Dancers in such a situation can learn a
great deal about projection. A difficulty with performing that close to
an audience is that the performer may lose concentration due to the
distraction of seeing a particular face in the seats. The almost
instinctive urge to acknowledge or to ignore that person threatens the
concentration necessary for performance. Constant practice will
enable the dancer to see the audience, yet not be distracted… To
project beyond the personal through the movement. The studio is an
excellent place to present ‘first’ works… informal showings, works in
progress and previews of completed dances. The formality is
constructive and also conducive to the staging of experimental works
and other types of dances that in their very conception demand
intimacy to succeed. Often disarming in its simplicity, the studio
performance generates a wonderful atmosphere. 

Visit the links below and watch video.

Matilda, the Dance Palace

https://www.youtube.com/watch?v=BZmdawBkK6k

It’s a hard knock life (Annie) – Dancing with the stars Finale
https://www.youtube.com/watch?v=Cexhpgf2TZw

III. ACTIVITIES:

TASK 1: LET’S CHECK WHAT YOU LEARNED!

1. Is in charge of all equipment, instruments backstage and technical aspects

of the performance, including hanging lights and building any sets. The
technical director usually has a ‘tech/stage crew for assistance.
________________________

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2. ________________________ transforms the stage space and helps
choreographers ‘say’ what they want by making sure all lighting
instruments are strategically placed on the stage.
3. It is vital that everyone knows from the outset the importance of working
with their full concentration, commitment, honesty and integrity toward the
performance. At rehearsal, your ________________ and goal must be, the
performance!
4. _______________________, is in charge of all sound equipment and
projections.
5. He runs all rehearsals – tech & dress, assigns dressing rooms, in charge of
sign-in, is basically responsible for everything that happens backstage. He
is also responsible for ‘calling the show’; giving directions for the sound and
lighting cues. His ability is crucial to the overall success of the performance
and usually has an assistant to help with the details.

What’s the first thing that comes in your mind after watching the video?

____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________

TASK 2: Let’s make a Research!

In order to produce a good Dance Production, one must know the steps in
mounting a production. What are the steps needed?

IV. REFLECTION:

What do you think is the importance of making a checklist in mounting

a production?
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________

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V. REFERENCES:

 https://www.huffpost.com/entry/dance-production-and-
mana_b_4160714?
fbclid=IwAR342spSNmB_vcJaOQ8L1u2JoWOjdd8cCaZQtC7nObvvx0urj
Bzfgwy8c98
 https://laney.edu/jburgess/dance-6-dance-production/?
fbclid=IwAR1kYcYDMYEu9V1YI_OaZnOq41vqh7ah5YBPySdzZNOH2oHC
VW-fTElJvhI#
 https://ausdance.org.au/articles/details/producing-a-dance-
performance?fbclid=IwAR0HR9gVyZS71LEKrSNkSlYFA-
aBjdn0P040v8E_5BChCoFdXD-75Yp3BzE#toc-
_step_three:_prepare_marketing_material_programs_ticketing_and_front
_of_house

VI: ANSWER KEY:

ACTIVITIES
TASK 1:
1. Technical Director
2. Light Designer
3. Attitude
4. Audio Engineer
5. Stage Manger

TASK 2:
 Step one
o Discuss themes, task or guidelines; select performance venue; organise rehearsal space; prepare rehearsal
schedule.
 Step two
o Select music; assign roles; discuss design; begin choreography.
 Step three
o Prepare marketing material, programs, ticketing and front of house
 Step four
o Finalise choreography, music, costumes and props
 Step five
o Rehearsal and refinement
 Step six
o Production week
o Consider your audience
o General principles for performers
o Some handy hints
 Step seven
o After the performance 

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Prepared by:

JUMARIE MAE A. CERVANTES

Dance Art Teacher

Reviewed by:

ALONA R. ABO-ABO
Principal I

MARMA L. CAPELLAN
Division SPA Coordinator

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