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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Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Among the actorial forces related to the physical condition that the choreographic body experiences in live environments, a very important role is the one played by space, since the body must behave in the choreographic space according to its specific rules and conventions in terms, for example, of shapes, design, projection and other ways of choreographically exploiting the relationship with the spatial dimension.
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As "She-Wolf of France," she is choreographically transformed from Odette (delicate, suffering, male-dominated) to Odile (athletic, independent, imperious).
Any interconnections between Les noces and Le sacre--musically, choreographically, or narrative-wise--are interesting to detect, especially given the wider historical, cultural, and artistic contexts that the two works inhabit.
(36) Their "improvisational" moments, while on the one hand requiring a sense of immediacy and connectedness (the "intensity" prized in his dancers) from the performers, on the other hand forced them to step outside the frame of their moving bodies to think choreographically. (37) Choreography has traditionally tried to allow the performer to find space for the sense or affect of freedom within the choreographed performance; even in the eighteenth century, the early dance critic Jean-Georges Noverre called ballet "a living picture of the passions," warning that without "expression," it becomes "a cold and dreary spectacle," an imposed form without ecstatic content.
Choreographically, the most obvious parallel to the scientific theory of chance is found in Merce Cunningham's work.
This form of dance at its most advanced level demands an externalized, exaggerated performance of gender roles, a mastery of highly stylized sartorial and gestural codes, and an understanding of conventionalized sociosexual narratives conveyed choreographically. What, then, can the events in Chicago and Montreal reveal about international ballroom as a dance form?
Choreographically, she folded European, Caribbean, African, and African American movements into her world renowned "Dunham Technique." (The Annual Dunham Technique Seminar, held in East St.
'I hoped I could be convincing choreographically, if not in terms of speed and actual dynamic energy.
The third act of Contact--the "Girl in Yellow" section--is also coarse, and almost unbearably endless, but choreographically it's an improvement.
The participation of Violette Verdy ("Emeralds"), Patricia McBride ("Rubies") and Suzanne Farrell ("Diamonds") has helped to make Miami's production of Jewels the most choreographically persuasive and musically detailed version in the world.
"Musically and choreographically it is more difficult, " chimes in Daria.