StageWrite is a software platform that helps directors and choreographers across the globe track and input dancers and performers staging and choreography tracks into stage plans, scripts, and more! I was interested to use the software both as a choreographer and a dancer. As a choreographer, can I better prepare myself for rehearsals if I am able to map out traffic patterns and send them to my dancers? As a dancer could I be more prepared for a technical rehearsal if I knew my entrances and exits, as well as spacing? I believe the short answer to both questions is yes. By manipulating the user-friendly software, I was able to map out the entire choreography in just a few hours. Some of the stagings below may need adjusting in the space, for instance some of the numbers and entrances... but for the most part, I believe this software could be a key instrument is supporting dancers and choreographers! Especially for projects that are touring or include a swing or understudy so that each individual performer is not creating their own version of the stage plan and spacings. Less work for all.  

Stage Write: "Thousands of productions around the world trust Stage Write to track the moving pieces in the production."

https://www.stagewritesoftware.com/

I encourage you to flick through the various "scenes" or "stages" in the choreography to see how this software can be used for dancer and furniture spacing, entrances and exits, as well as traffic patterns. 

Can unison movement be achieved when two different dancers are in different spaces? I don’t think so. At least not for my choreography. When static movement is filmed, the perspective of the view of the audience, and where the dancer is dancing in their space that affects the ways in which they are viewed. For instance, Jodie and Giada didn’t have much depth in their spaces. If they did, they didn’t particularly use it. This leads to some of the movements becoming smaller or toned down as opposed to how the movements were originally choreographed, or meant to be performed. Additionally, I find it particularly interesting to note the differences in timing between the four dancers. Timing was a major aspect of the virtual rehearsal process that I found to be difficult. Not only navigating the delay of the Zoom screen, but adapting the choreography so that each of the dancers could rely on themselves, rather than on each other.

In regards to storytelling and expression, I believe the original choreography allows the audience to connect on a deeper level. The adapted duet seems distanced in a way that pulls focus away from the story and choreography, and puts more of the focus on the individual dancer and how they are moving and performing. It also doesn't help that the moments I attempted for the dancers to connect and look at each other ended with them both looking in the same direction. Something to take into consideration for my next project: having clear expectations and rehearsing them so that they become clear to the dancers as well.

In watching these two choreographies side-by-side I begin to notice the differences in detail between the dancers, but also between the intention and facings. In the filmed piece, the dancer in the pink is able to hide/show/change features of her body with the use of the camera angles and camera editing. In the studio space, the dancer in the red is much more exposed and the choreography feels more "live" because the focus is on the dancer and choreography rather than the external elements of film and editing. I find it particularly interesting to look at the timing of both dancers. Although the music has a very strong beat to it, each of the dancers embody that beat differently. The dancer in the pink has more of a dynamic attack to each of the movements - playing with pauses and clear movements, whereas the dancer in the red has more of a flow throughout her body. From a choreographer perspective, I am much more drawn to the pauses and clear movements. That being said, the editing plays a huge role in how I view the choreography itself... which can make it seem different than what it actually was while being filmed. 

A personal reflection that I have after working with both dancers is that I definitely put more focus into the small details for the dancer in the red, whereas the dancer in the pink knew the choreography and was asked to repeat and repeat in order to film all of the different shots and angles. It is also much different viewing the choreography statically and from afar as opposed to up close and from dynamic angles.

I couldn't be more happy with how today's rehearsal went! As it was our final day together, I wanted to make sure that both Giada and Jodie felt comfortable and confident with the material before filming separately this week. We began rehearsal with twenty minutes of mindfulness, followed by a short improvisation. Today's mindfulness exercises had a strong connection to characterisation and imagination. By starting on the floor in a seated or semi-supine position, the dancers extremities are touching the floor. Starting with an image of the ocean, I allowed them to feel the warmth of the sand, the heat from the sun, and the cool breeze blowing past their face. This imagery exercise developed into a small improvisation that blended an embodiment of their character while warming up various parts of the body. I asked them to journal for two minutes non-stop, regardless of what they had or wanted to say. I find this exercise to be useful, especially with dancers, because we are forced to dig deeper into our feelings and find more specificity with how we react and translate experience. After a series of writing prompts, I challenged them to speak for three minutes without interruption. Both dancers did incredibly well! Even after the ninety-second mark when both of them seemed to trail off topic, they both stayed engaged and spoke the entire time. Again, I find this exercise to be extremely useful because we are forced to trust our instincts and not rely on what someone else will respond with, but rather trust in what we are saying. We then did a quick ten-minute warmup before taking a break. After we came back from our break we reviewed the choreography and performed individually. Both dancers were able to give each other feedback and suggestions for improvement. 

I ended today's rehearsal with an open space for feedback. I find it incredibly important to receive feedback, both positive and negative, as a choreographer and teacher. In fact, I am always looking to grow! I am incredibly thankful that both Giada and Jodie were able to find value in this project.