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The Relationship of Audience and Performer

With over 30 years in the business of teaching, choreographing, and directing, I know there are many view points on the premise of performance. Some think it is a show for performers to garner applause, flowers, and gifts from the audience. Others think it is a recital for performers to demonstrate one's advancing skills to a group of on-lookers. I, and many colleagues share the view point that performance is an interaction of performers and audience. Performers give of themselves to move viewers from one state of being to another. Audience members are expected to experience and react in their own individual way.

Liking or disliking is irrelevant to the performer, not because he / she is apathetic, but because the performer is seeking a deeper emotional reaction and meaningful change of mood or mind in the viewer. I teach my students that their primary goal as a performer is to impact the audience's current emotional position. Make them laugh, cry, hold their breath in suspense, etc.

In order for students to give so much of themselves in performance, they must give themselves to the lessons of every class and build an arsenal of skills, including a vast vocabulary, articulate quality, and the ability to make various connections with people. The first connections are with their peers in class. Learning to trust classmates requires mutual respect and support. The more trust that is built, the more safe a student feels to risk following an idea. The more risk that is taken, the more that is learned. The more that is learned, the more there is to give an audience.

A performer's dedication to their craft can appear to be selfish and indulgent, but in reality it is to acquire enough to give back to the audience in performance. Some audience members understand that their connection to the performer extends beyond the performance into supporting the continued development of the performer as a fan. When the exchange between performer and audience is mutual and continuous, civilization is renewed.

Choreographing

For me, choreographing is the creation of art through the medium of movement. Sometimes it takes shape from improvisation or a dancer's movement. Other times, it grows out my reaction to music, fabric, an image or story. Occasionally, my choreography is based on design only, like abstract moving sculpture. I've created dances to fit music, poetry, explore the movement of a costume, the framework of a structure, as well as to feature some dancers.

Because of the way I staff my classes, I most often choreograph in the vernacular of modern dance. Now and then I choreograph in jazz and ballet. This summer I am working on a Tarantella, very musical and upbeat character dance (in ballet), a musical theater / soft shoe piece, entitled, Out of the Poor House, and a new modern piece or two (TBD). Right now I'm experimenting with the dancers' movement and a range of music.

I am also happy to write that this summer I am helping my students learn to choreograph for themselves, which always brings me back to my foundation. Similar to literary or musical composition, architectural construction, and landscape design, there is motivation to begin, develop, and end. I feel that motivation is all around us. I love new ideas and find it very easy to get started. My choreography will most often be based on a framework of thematic movement phrases, not necessarily created in chronological order. My imagination often exceeds reality. Reaching toward the ideal and editing my imagination is my main challenge. My dancers know that I always reserve the right to change my mind and alter previous decisions. My less experienced performers rarely experience much change in their choreography because there are fewer options for their skill level. My more experienced performers 'try-on' many variations until I settle on the most effective movement for the piece.

The generous collaboration between the choreographer's process and the dancers' artistic development gives a piece life. I find it difficult to end the creative process when the choreography is giving to the dancers and the dancers are giving back to the choreography. Only the deadline of a performance date brings the evolution of any piece to a finished look. On the other hand when the choreography and dancers do not find that give and take relationship, I have to weigh out whether to persevere or start fresh. I first find my resolve in the dancers' faces, and then I check the calendar.

Trust between the choreographer and dancers is the MOST important underlying factor for the success of any piece. Choreographers who are reliable and committed inspire dancers to be the same. Choreographers, who make dancers look good and work constructively, develop dancers who give more to the process and make the choreographer look good...a win-win approach!

I choreograph to teach composition by example, to produce entertainment for concerts, and to satisfy my own creative itch. The way I audition and rehearse teaches dancers a few ways that they may take on the role of choreographer should they want to do so. No matter how much experience I have behind me, I look forward to what is in front of me and ahead for my students. Rarely, do I re-stage an old piece. I prefer to create new. There is always more to learn and enjoy.

Wearing The Hat of a Director

My job is at least three-fold: director, teacher and choreographer. Some might add: councilor, coach, facilities manager, and other titles to my position. While my three larger responsibilities overlap, they are distinct in their purpose. I write about my role as director today.

In my position, I feel responsible for the livelihood of my staff and the futures of my students. I aim to stay on top of what is happening, where it is happening, and who the helpful contacts are for the sake of those who may need the next opportunity. As a student's director, I keep up with his / her development and interests, providing appropriate structure and experience as they grow. If (beyond dance class) a student is interested in costume development, they can work with my wardrobe staff. If a student enjoys photography, set development, journalism, nutrition, whatever, I give them a chance to gain experience with it. I believe it is important for students to expand their understanding of the dance world through related arts and sciences.

As a school's director I carefully build and guard the reputation of this program for those who are involved with it, and those who move on from it. When and where a student moves on is carefully planned and selected. Proper timing and placement of advancing students helps them prevail and enhances the regard of this school's program beyond our community. I aim to insure that the name, Dancing Arts Center serves as an entree for all because my driving motivation as director is the future of the students and school.

A Dance Teacher's Changing Approach

Teachers have many approaches when helping students improve. Their strategy is based on each pupil's level of experience, physical maturity, intellectual capacity, and emotional confidence. When teachers change their approach, it is because the student's needs warrant it, not because the teacher is changing moods, personality or work ethic.

Students are suppose to gain skill and confidence in the learning process. In the study and practice of dance, students often build strength, increase flexibility, refine musicality, expand vocabulary, and much more. They are responsible for remembering and keeping their accomplishments so that their teacher can build on it. Students inadvertently become comfortable with their teacher's ways and can think something is wrong if their teacher works with another strategy.

Teachers are suppose to adjust to the level of each student's gains. As a student becomes consistent with previous accomplishments, dance teachers instill deeper understanding, inspire the student's use of independence, increase the speed in which new material is expected to be grasped, and embellish the material.

Change creates progress and is also a result of progress. Do not be afraid of change, but if you are uncertain, do ask to understand the reason for the change. Parents and students may be happily surprised that a teacher's changing approach means progress is being made!