Mme. Hermine Posted December 12, 2002 Share Posted December 12, 2002 sometimes you hear a phrase of music to which it seems the choreographer of a ballet has listened intently and decided to do just what the music says ("ah, an arabesque here", or "that's batterie if i ever heard it"). is there a logic behind why someone would use a step that doesn't seem obvious? does this question make sense? Link to comment
Alexandra Posted December 13, 2002 Share Posted December 13, 2002 Does the principle that a great choreographer makes the choreography look inevitable apply here? Link to comment
dirac Posted December 13, 2002 Share Posted December 13, 2002 The question makes excellent sense, I think. I don't make ballets myself, so this is no expert's opinion, but often it seems to me that a choreographer will choose steps in counterpoint to the music, or to create a syncopated effect. The steps can be on the melody but not the beat, or vice versa, for example. And sometimes I suspect they do set out to surprise us. "Expecting a big jump with that crescendo, eh? Well, you're NOT getting one!" Link to comment
Leigh Witchel Posted December 13, 2002 Share Posted December 13, 2002 I can only answer with what I know myself, which is not the only way to skin a cat. I think the logic behind when you are choreographing right on the music and when you are running parallel to it is the same as a chef's. You know how to season a dish from having cooked similar dishes, developing your palate by eating, and observation - and then there's creativity and inspiration on top of it. I often choreograph right on the music when there's a tune I especially like. It's a way of letting the music talk first. Massive effects in the music (Crescendos, sudden silences) demand that you take them into account as well. To avoid Mickey Mouse effects, I sometimes make a change in choreography near a big effect in the music, rather than on it. In one ballet of mine, the dancers begin running not on a huge crash in the music, but two counts after. Link to comment
Hans Posted December 15, 2002 Share Posted December 15, 2002 One thing that often botheres me when I try to choreograph is that I get a good idea for a ballet in my head but can't find any music to suit. Do others have this problem? Petipa apparently never had to deal with it. Link to comment
Leigh Witchel Posted December 15, 2002 Share Posted December 15, 2002 Jot down the idea in a journal or notebook (paper, electronic or otherwise.) You may find the music that was right for that idea a few years later. That has happened to me. Link to comment
Mel Johnson Posted December 15, 2002 Share Posted December 15, 2002 Or you could do what Petipa did - just hand your staff or contract composer a shopping list of what and how much music you want when. ;) Link to comment
Hans Posted December 16, 2002 Share Posted December 16, 2002 I will do that, Leigh. Thank you for the suggestion. In the meantime, maybe someone will get me a composer for Christmas. Link to comment
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