choreography

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choreography

, choregraphy
1. the composition of dance steps and sequences for ballet and stage dancing
2. the steps and sequences of a ballet or dance
3. the notation representing such steps
4. the art of dancing
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Choreography

 

(1) A term originally used for the art of notating dances. The first attempts to record dances were made in the late 15th and early 16th centuries, but it was not until the late 17th and early 18th centuries that French choreographers and dance teachers, such as P. Beauchamp, R.-A. Feuillet, and P. Rameau, devised a system of dance notation, which later became widespread. The term “choreography” was introduced by the choreographer Feuillet, author of Chorégraphie ou l’arte de décrire la danse (1700). In Russia, two systems of dance notation were devised in the late 18th century: the system of F. A. Zorn (in Russian, A. Ia. Tsorn; 1889), used mainly by teachers of ballroom dances, and the system of V. I. Stepanov (1891). Stepanov’s system was used to record 27 ballets from the repertoire of the Mariinskii Theater in St. Petersburg.

(2) The art of composing dances and ballets. In this sense, the term has been used since the mid-19th century. Authors of the steps and dances in a ballet are called choreographers.

(3) The art of the dance as a whole. It is one of the oldest forms of art, whose means of expression are movements of the human body to music (seeDANCE).

REFERENCE

Lisitsian, S. Zapis’ dvizheniia (Kinetografiia). Moscow-Leningrad, 1940.
References in periodicals archive ?
Further down the line, Sklute is excited for the possibility of fringe festivals, involving regional school programs and a choreographic competition.
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The goal of Ballet BC's Choreographic Workshop, held about five times a year, is twofold: to help young dancers not only learn how to approach and get a diverse perspective of choreography, but to also "build the confidence to experiment, trust and take the risks needed to get their own ideas out," says Molnar.
While A Choreographic Mind is, in itself, the product of Rethorst's journey away from silence, toward a rigorous articulation of how and why she does what she does, it makes a powerful case against the need to define, in words, a dance's function or meaning while in the process of making it.
In September, just as the weather in New York turned chilly, Noemie Lafrance's site-specific, Agora II: A choreographic game for one thousand bodies, opened at McCarren Park Pool in the Greenpoint/Williamsburg section of Brooklyn.
Although the three musical pieces were created at different times in Mozart's career, Morris' choreographic ideas flowed from one dance to the next, subtly reconfigured so that together the dances were more than their exquisitely detailed parts.
He served as the director of Step Ahead, BF's choreographic workshop, for five years.