Villamente , Chenlie P.

PHED 212-Dance Composition and Production

Professor: Sheena Eunice B. Tabudlong

Lesson 2.2: The Process of Composition in Dance

a. The Body as Instrument for Dance
b. The Dancing Body

Ms. Izza Palo spoke about The Process of Composition in Dance on April 9, 2022. She discussed
The Body as a Dance Instrument and The Dancing Body. The discussion went well, and new
ideas and knowledge were discovered.

Choreographers must follow the Choreographic Process when composing and creating dance for
a smooth performance. Because choreographers collect ideas in this stage of the creative process,
it should be well-prepared. As a teacher, we are sometimes tasked with teaching different dances
to our students, particularly when there are school activities for an intermission number. As a
non-professional dancer, I conduct extensive research in various genres in order to determine
what to teach. I always create and collect ideas before teaching the actions because it will be
easier for me to teach them in a short period of time. When we don't organize our teaching, it can
lead to chaos and wasted time. Because of the step-by-step process that will guide you along the
way, the process of composing dance is a big help for choreographers/teachers because it will not
only help you save time, but it will also make it easier for you to teach and facilitate students.

Dancers, similar to athletes, need their bodies to be in peak physical condition in order to execute
what is expected of them. Mrs. Sandra Parks, Head of the Arts Department, said, “If you talk to a
professional dancer, it doesn’t matter what form they practice, they will tell you that they have a
very strict routine. What time do they go to bed? What time do they wake up? What do they do
when they wake up and all that? It’s very ritualistic.” Our bodies are the most important
instrument for dancing because we cannot dance without them. It's not about how well you
practice or how good you are at dancing; it's about looking after your body in order to improve
your dancing. I don't just teach my students how to dance; I also incorporate their lifestyle and
how they take care of their bodies. I always keep an eye on their diet, making sure they're eating
the right foods and avoiding sodas, which can lower their cardio. It doesn't matter how talented
you are at dancing; it's all about taking care of your body, because everything you've worked so
hard for will be for naught if you can't look after yourself. If you want to protect your talent or
skill, you should exercise and eat a healthy diet.
Villamente , Chenlie P.

PHED 212-Dance Composition and Production

Professor: Sheena Eunice B. Tabudlong

THE ELEMENTS OF MOVEMENTS

The Elements of Movements was Mr. Aljun's topic. He discussed the importance of the Elements
in assisting our body movements and distinguishing the factors that influence movement. The
discussion went well, and new information and ideas were shared.

We have the right to control our bodies as owners. The elements that we must follow are proper
posture, centering the dancer's body on where to position, gravity, and balance of the body,
rhythm of the music, proper breathing, and moving in space. Dance is an art form that focuses on
creating a permanent and fluid performance. Choreographers and dancers are still working with
compositional elements. The key to creating a great work of art is to understand these elements
and how to use them. In dancing, having space to interact with the physical world is critical.
Basic movement exploration is a structure and process component of physical education that is
defined by the experimental study of time, space, force, and flow as elements of movement, the
physical laws of motion and principles of human movement that govern the human body's
movement, and the vast variety of creative and efficient movements that the human body is
capable of procuring through manipulation of movement variables.

As a teacher, I've dealt with a number of issues with my students. Lack of motivation, low energy,
and disinterest in exercise (especially in someone who was previously active) can all be signs of
depression. Physical activity levels can be affected by social anxiety disorder, agarophobia,
sleep disorders, or substance abuse. Body image and self-efficacy issues can also be significant
psychological barriers to a more active lifestyle, necessitating professional counseling and
intervention.
Villamente , Chenlie P.

PHED 212-Dance Composition and Production

Professor: Sheena Eunice B. Tabudlong

DANCE PRODUCTION

Dance production is a complex concept that involves considerable thought in the areas of stage,
costumes, lighting, and movement content. It is always a collective effort of all those involved in
the production. Dance production is not as simple as some people believe. It takes a great deal of
effort to make a show a success. The forms of dance production that we should examine were
also discussed throughout the reporter's debate. The first are the performance areas. Performance
places discussed where theatre, music, or dance is performed. It is a location or place where
performers can perform and the audience can see and appreciate them. It is a location or place
where performers can perform and the audience can see and appreciate them. A performance or a
show may appear uninteresting and unappealing if the performers are not dressed appropriately.
A dance costume is the attire that a dancer wears when performing in front of an audience. A
good costume also requires three major things: the costume should be aligned with the concept,
the costume should have the right fabric to allow the dancers to be comfortable, and the costume
should have a conversation with the dancer because the dancer will be the one to wear it, and
they should communicate with each other to make the costume more appealing. The props that
help the audience understand the environment, the characterization of each character, and lend
symbolism to the play are the next factor to consider. There are types of props the hand prop, set
prop, personal and the costume. Stage lighting is important because it gives energy to the play. It
illuminate the performance venue and make an impact on the event because it gives visualization
and direction and it also shapes the environment.
Villamente , Chenlie P.

PHED 212-Dance Composition and Production

Professor: Sheena Eunice B. Tabudlong

PHYSICAL STAGE

Aside from costumes, any physical object in a play has the potential to become a significant
dramatic symbol. The stage set, the actual things that depict the setting of the play, is the first
thing a play's audience sees. The stage set is normally indicated by the playwright, although the
level of detail and precision varies from one playwright to the next and from one literary period
to the next. Staging can also refer to the end outcome of this procedure, i.e. the spectacle that a
play exhibits in performance, as well as its visual detail. This can involve actor placements on
stage (also known as blocking), gestures and movements (also known as stage business), the
scenic background, props and costumes, lighting, and sound effects. We should remember
certain aspects of theater. The first is the stage, which has several different components. Actors
and actresses should be familiar with the various portions of the stage in order to keep track of
how they will be able to move around the space and to be orientated of the different sections in
order to know the viewpoint of how they will touch the audience via their performances.
Upstage, downstage, stage left, stage right, center stage, center line, onstage, and offstage are the
various parts of the stage. It was also noted that when humanity began meeting to tell stories and
recreate situations from everyday life in front of an audience, they needed a location where they
could perform. A Greek and Roman theater is open air, yet there is no perfect shape or size of a
theater. The stage in a show has a large impact on the overall production, so it should contain a
variety of design aspects to satisfy the audience. Designing for the stage necessitates a wide
range of technical abilities.mColor is the most significant aspect of design. Color is utilized to
convey mood, light, depth, and point of view. Color is frequently employed to establish the
appropriate mood that the production is conveying in order to deliver the message that the
audience should receive. The reporter also discussed the scene design process. Sketching,
rendering, modeling, and construction are the four essential phases. Sketching is typically a
quick pencil drawing that is simply a floor design. A viewpoint on what should be done in one's
best interests. The final phase in designing is the construction of the step, which is now the
making of the set in a production. Making the actions and plans a reality. Physical stagedoes
have numerous tasks to complete. Many factors should be prioritized in order for the
manufacturing to run smoothly and successfully. We need to comprehend the various
components we need to remember and follow in order to achieve the greatest results possible.
Villamente , Chenlie P.

PHED 212-Dance Composition and Production

Professor: Sheena Eunice B. Tabudlong

THE ARTISTIC ASPECTS OF PRODUCTION

Bright lighting may ensure that your audience knows exactly what is going to happen, making
them feel like they are a part of the event. Alternatively, for sad, angry, or tragic scenes, light
design can actually establish the tone. This helps to carry the plot and engage the audience on a
deeper level. Different lighting colors can aid in the portrayal of emotions throughout your
production. This can have a significant impact and help your performers and plot. Three of the
most widely used emotions that correspond to lights are jealousy, anger, and melancholy. There
are numerous stage functions to consider, including illumination, which considers our audience's
ability to view the actor or dancers performing on stage, attention, mood, time and place,
enhance and expand. These functions are critical in allowing us to provide the finest production
to our viewers. In order to achieve these goals, we must select the appropriate equipment, such as
lighting equipment. By directing the light in the desired direction and making it appear in the
desired manner.

The sound design of a theatrical production defines its overall mood as well as its effectiveness
in delivering a tale. It's an important part of the story and determines how the audience perceives
the play. As a result, it's critical to produce sound effects and musical soundtracks that express
the tale without overpowering it or appearing understated. The equipment utilized in this process,
such as speakers and microphones, is just as vital as the sounds themselves. Music also aids in
scene construction and transitions, allowing actors and actresses to be prepared for their roles.
The lighting and sound emphasize each scene created by the production. These two are most
likely the foundation of any production.
Villamente , Chenlie P.

PHED 212-Dance Composition and Production

Professor: Sheena Eunice B. Tabudlong

THE ARTISTIC ASPECTS OF PRODUCTION

There are numerous factors to consider in a production. The reporter talked about what factors
we should think about when planning a show. Making dance requires eight technological
considerations. The first point to consider is the location. The location refers to where the
performance will take place. The importance of location in a theater cannot be overstated highly
beneficial for many performances The performance will not take place unless a suitable venue or
location is found. The space and staging come next. Space and staging determine how many
people will be able to sit and watch the entire show.

One of the most significant aspects of a production is the venue facilities. The sound, lights, and
venue itself have the greatest impact on the audience who will see the entire play. The lighting
will enhance the game even more. It evokes emotions and emphasizes what the scenario will
depict. The usage of proper sound also creates a lot of feelings and emotions in the audience. The
next step is to design the production elements. It is essential to plan ahead of time. We should
think about what the dance production will be about. The production is made much easier by
planning the overall aesthetic of the dance performance and ensuring that costumes, lighting,
props, and venue decorations are ready ahead of time. Another part of a production is show
promotion. It is crucial to promote the show since it provides the audience the impression that
they know what the performance is all about and that you have a production to present. A
brilliant performance is worthless unless the audience is engaged. Rehearsals are also beneficial
taking part in a play "Practice makes perfect," as the saying goes. Rehearsing is the repetition of
what the steps and sequence of the production should be. It instructs the dancers and all other
production members on what to do on the day of the production. Organizing technical rehearsals
should be taken into account in various productions.
Villamente , Chenlie P.

PHED 212-Dance Composition and Production

Professor: Sheena Eunice B. Tabudlong

ARTISTIC ASPECTS OF PRODUCTION AND PERFORMANCE PLANNING

When a theatre's audience takes their places and the lights dim, a beautiful stillness falls over the
room. The curtain rises, the lights flash, and the dance begins. The audience, preoccupied with
what is happening on stage right now, rarely considers the long journey that has taken the
dancers to this point. Some may be surprised to learn how much labor and energy goes into
putting on a dance production. In addition to choreography and rehearsals, an enormous amount
of work must be completed. Dance production is and has always been a team effort. Being in and
working with a large number of people who have a wide range of roles, titles, and
responsibilities. The work of arranging and staging a dance concert can be intimidating and
tiring. As a result, it is critical to have a well-thought-out plan of action and to stick to that plan's
timing and timeline. Every production is one-of-a-kind. There is ongoing overlap and combining
of responsibilities that are ironed out from show to show. What worked in a previous show may
not work in this one. You don't have to know how to do all of the jobs involved in the production
of a dance event as a student, choreographer, or performer, but you should know who does what.

The Artistic Director oversees the whole production and is responsible for the overall visual and
artistic vision of the show, as well as making all final decisions about all artistic issues. One of
the artistic director's numerous roles is to choreograph for the production and/or invite guest
choreographers to produce dances that will be performed. Once it is decided which dances will
appear/perform, the creative director arranges for them to be performed in the proper concert
order. Stage Manager oversees all rehearsals (tech and dress), assigns dressing rooms, handles
sign-in, and is generally in charge of everything that happens backstage. The stage manager is
also in charge of 'calling the show,' or directing the sound and lighting signals. The stage
manager's expertise is critical to the overall success of the performance, and he or she is
frequently assisted with the specifics. The Lighting Director oversees all lights on stage, in the
house, and in the follow spot from a light board/booth. The Lighting Designer alters the stage
space and assists choreographers in'saying' what they want by strategically positioning all
lighting instruments on stage. Theatrical light, which is completely artificial, promotes sight and
insight; it is a subliminal whisper that tells us what to make of what we see. Light gives the
dance the theatrical aspect that most choreographers desire.

The studio provides the most intimate touch with the audience and is the least pompous
environment for a dance performance. In general, members of the audience have a distinct
feeling of friendliness toward the performers in this context; perhaps the near proximity of the
two heightens audience attentiveness. This environment is very beneficial for beginning dance
students. Dancers in this position can learn a lot about projection. One disadvantage of
presenting so close to an audience is that the artist may lose attention owing to the distraction of
seeing a specific face in the audience. The almost intuitive desire to acknowledge or ignore that
individual jeopardizes the attention required for achievement. The formality is both constructive
and beneficial to the staging of experimental works and other forms of dances that, by definition,
require intimacy to succeed. The studio performance, which is often disarming in its simplicity,
creates a lovely mood.