A memorable dance performance is born long before the curtain goes up. There are weeks or months of rehearsals, creative decisions and practicalities to get through with the dancers, the choreographer and the backroom team all working towards the same vision.
Whether it’s classical ballet or contemporary dance the impact of the production is all about how the various elements work in conjunction with each other. The choreography provides the direction for the piece, the music the score, the costumes and the lighting the way in which the audience will experience it.
Personal Care Preparations Between Training Sessions
Professional dancers spend hours in rehearsal, moving from one session to the next (rehearsal, costume fittings, performance etc). Their personal care routines are a very practical way of resetting within that schedule.
Showering, washing, moisturising and getting into fresh clothes all help the performer to feel at ease before going back into rehearsal. The everyday items (body care products etc) can be part of the dancer’s kit along with the rehearsal kit and performance gear.
In shared dressing rooms organisation is also key. Having your toiletries, towels and spare clothes all in an accessible place makes it a lot easier to get ready, especially when you’re short on both space and time.
These are just a small part of the working day but they do take one thing off the dancers’ mind when they’re out on stage.
Proper Dance Footwear Supports Precise Performance
Dance footwear has to be appropriate to the style, the choreography and the individual dancer. Different techniques have different demands on the shoes so it’s absolutely vital that they are the right fit and in good condition throughout rehearsals and performances.
In classical ballet pointe work enables the dancer to perform on the tips of their toes. The pointe shoe is the essential piece of equipment that enables this, and of course the fit and support of the shoe are absolutely vital to its effectiveness.
Professional fitting and guidance from a ballet teacher is of course vital in helping the dancer to select the correct footwear for their training and experience. The shoes are always prepared and their condition checked as part of the rehearsal process.
Footwear may be less obvious than a costume or a stage set, but it has a direct bearing on how the dancer moves.
Choreography Gives Movement Meaning
Choreography is the creation of the movement, the relationships and the structure of a dance. It is the interpretation of the music, the story or the theme through movement and gives the dancers a common language in which to express themselves.
Classical ballet is based on a very established movement vocabulary, whereas contemporary dance is able to explore all sorts of different shapes, floor work and transitions. Each of those has its own possibilities in terms of storytelling.
Group choreography adds another dimension of co-ordination. The dancers have to know their own position, their own spacing and their own timing, whilst at the same time being fully aware of the dancers around them.
Rehearsals are all about developing that shared understanding. It’s not just about learning the steps. You’re refining how a gesture lands, how a transition happens and where the emotional emphasis lies.
Music and Timing Shape the Audience Experience
Music provides the rhythm, the mood and the emotional arc. A change in tempo or in the instrumentation can completely change the character of a sequence and thus the way the movement develops across the stage.
Some choreographers work from existing recordings, others work with musicians to create an original score. Having live music can open up all sorts of possibilities for interaction between the dancer and the musician.
For the performer the issue of musical timing is one of understanding both the beat and the phrasing. A pause, a held note or a change of dynamics can be as important as a clear beat.
In group work that understanding helps to maintain the synchronisation. It also gives the dancers a common language with which to respond to the music without losing the detail of the choreography.
Costumes and Stage Makeup Establish the Visual Identity
Costumes communicate character, setting and atmosphere before the dancer has even done a single movement. Their shape, colour and texture all contribute to the visual identity of the production.
Classical ballet will tend to use very recognisable theatrical silhouettes, contemporary work may well opt for much simpler clothing with the body itself being the focus. In either case the practicalities of performance are still there.
Costume designers have to think about flexibility, durability and how the costumes will behave when the dancers are moving. The fittings are the opportunity for the dancers to try the costumes out and make any necessary alterations prior to the performance.
Stage make-up aids facial expression in the theatre lighting, and hair styling can be used to reinforce a character or a visual theme. The two need to work in tandem to support the choreography and allow the performer to move.
Lighting and Stage Design Create Atmosphere
Lighting changes the way the audience sees both the stage and the dancers on it. A soft light can create an intimate atmosphere whereas directional light can be used to accentuate movement, define form and create shadows.
The lighting designer works with the choreographer to make sure the key moments are visible and that the lighting changes are in line with the emotional arc of the piece.
Stage design offers further context. Some productions go to great lengths with scenery, others are very much more minimal with just an open space and perhaps some very basic set pieces. Projection can be used as a means of changing the setting without the need for a large physical set.
Whatever the approach the design has to give the dancers plenty of space whilst still supporting the world of the piece.
Rehearsal and Joint Effort Bring the Production Together
Rehearsals are the link between the artistic vision and the practicalities of the stage. The dancers work on their routines and transitions, the choreographer gives feedback and the stage manager is busy with the schedules and technical preparation.
The dress rehearsal brings the costumes, the lighting, the music and the choreography all together under conditions very much like those of the actual performance. It’s an opportunity to pick up on any rather awkward costume changes, any unclear indications or transitions that need to be looked at more closely.
Good communication between the dancers, the designers, the technicians and the director will sort out all those little details before the audience even get there.
By opening night much of that work should be invisible. The audience will see the movement and they will follow the story because of the work that’s been done to enable both of those things.