Performing Arts

Body Expression in Different Forms

Dance is the movement of the body in a rhythmic way, usually to music and within a
given space, for the purpose of expressing an idea or emotion, releasing energy, or simply
taking delight in the movement itself.

Judith Mackrell notes that “Conquering the

stage is a powerful impulse, but the art of
performance is that impulse channeled by skillful
performers into something that becomes intensely
expressive and that may delight spectators who feel
no wish to sing or dance themselves. These two
concepts of the Performing Arts—dance as a powerful
impulse and dance as a skillfully choreographed art
practiced largely by a professional few—are the two
most important connecting ideas running through any
consideration of the subject. In any kind of
Entertaijing Performance, the connection between the
two concepts is stronger than in some other arts, and
neither can exist without the other.”
 
Although the above broad definition covers all forms of the art, philosophers and
critics throughout history have suggested different definitions of performing arts that have
amounted to little more than descriptions of the kind of dance with which each writer was
most familiar. Thus, Aristotle’s statement in the Poetics that dance is rhythmic movement
whose purpose is “to represent men’s characters as well as what they do and suffer” refers
to the central role that dance played in classical Greek theatre, where the chorus through its
movements reenacted the themes of the drama during lyric interludes.

Key Elements of Performing Arts

Performance has its own content, vocabulary,

skills, and techniques, which must be understood and
applied to be proficient in the art. The elements of
performing arts are the foundational concepts and
vocabulary for developing movement skills as well as
understanding music and dance as an art form. All these
elements are simultaneously present in a dance or even
in a short movement phrase.

1. Body.

On stage, the body is the mobile figure or shape, felt by the performer, seen by
others. The body is sometimes relatively still and sometimes changing as the performer
moves in place or travels through the performing area. Performers may emphasize specific
parts of their body in a dance phrase or their whole body. 

When we look at a performer’s whole body we might consider the overall shape
design; is it symmetrical? twisted? Another way to describe the body in dance is to consider
the body systems—muscles, bones, organs, breath, balance, reflexes. We could describe
how the skeletal system or breath is used, for example. The body is the conduit between
the inner realm of Intentions, ideas, emotions and identity and the outer realm of
expression and communication. Whether watching any performance or dancing ourselves,
we shift back and forth between the inner~outer sense of body.

2. Action (Characterization)

Action is any human movement included in the act of performinh—it can include
steps, facial movements, lifts, carries, and catches, and even everyday movements such as
walking.  Performers may choose movement that has been done before, or they may add
their own original movements to the existing dance movement vocabulary. Performers may
also revise or embellish movement they have learned from others. Live performance is
made up of streams of movement and pauses, so action refers not only to steps and
sequences, but also to pauses and moments of relative stillness. Movement that travels
through space is broadly called locomotor movement in contrast to axial movement, which
occurs in one spot.

3. Space (Perforning Venue/ Stage)

There are countless variations and combinations of ways that movement can
occur in space. Performers interact with space in myriad ways. They may stay in one place
and move parts of their body or their whole body, or they may travel from one place to
another. They may alter the direction, level, size, and pathways of their movements. Artists
may focus their movement and attention outwardly to the space or inwardly, into
themselves. The line of travel may be quite direct towards one or more points in space or
indefinite and meandering. The performance may take place in one corner of a stage or in a
big open circle outdoors with the entire community surrounding the performers.. 
Performers may also orient their movement towards objects or in relation to
natural settings. Sometimes live productions are created for specific locations such as an
elevator or on a barge for site-based performances. Spatial relationships between dancers
or between dancers and objects are the basis for design concepts such as beside, in front
of, over, through, around, near or far.

4. Movement (Choreography/ Interpretation)

It is the fundamental element of perfoamance which narrates choreography,

action and stage presence. Movement generally relies on energy which is about how—it
refers to the force of an action and can mean both the physical and psychic energy that
drives and characterizes movement. 

Choices about energy include variations in movement flow and use of force,
tension, and weight. A run might be free flowing or easily stopped, and it may be powerful
or gentle, tight or loose, heavy or light. A dancer may step into an arabesque position with
a sharp, percussive attack or with light, flowing ease. Energy may change in an instant, and
several types of energy may be concurrently in play.  

5. Energy
Enthusiasm is something that cannot be learned from any book or any mode
of rehearsal. It is the inner guts and enjoyment of the performer, the moment that they are
facing the audiences. Any personal problem of the performer shiuldnt be noticed bybthe
viewers because there is no time to sympathize on the performers current situation.
Performers are all selfless, they have toninvite the audience to become part of their world
and let them know the beauty of savoring life in its most creative way.
 Energy choices may also reveal emotional states. For example, a powerful push
might be aggressive or playfully boisterous depending on the intent and situation.  A
delicate touch might appear affectionate or uncertain, or perhaps suggest concern.

6. Spectacle

It is the over all look of the production. That includes: makeup, costume or
wardrobe, props, lighting effects, and stage visual effects.

7. Time

The keyword for the element of time is when. Human movement is naturally

rhythmic in the broad sense that we alternate activity and rest. Breath and waves are
examples of rhythms in nature that repeat, but not as consistently as in a meter. Spoken
word and conversation have rhythm and dynamics, but the patterns are characteristically
more inconsistent and unpredictable.
Time may also be organized in other ways including clock time, sensed time,
and event-sequence. Performers may take sight cues from each other to start the next
phrase or use a shared sense of sensed time to end a dance.  They may even take cues
from an event such as a train whistle during an outdoor dance performance. The inherent
rhythms in our movement and our aural landscape are a rich source of variation in dance.

8. Music (Choice of Song)

Rhythm, harmony, and balance are concepts that apply equally well to music
and the natural world. Music can be produced through vocal or instrumental medium. The
sound may be amplified once a vibration happened such as in the voice box of every
humans or in any musical instruments. Historically, music is humanities one universal
language. One can identify with others of a different cultural, social, and national
background with the help of a mutually appreciated musical piece. Music can unite a
country, end a war, or on the contrary, catalyze conflict. It can serve to gather the
collective identity of a nation or people and act as a rallying point which can garner
support for a common cause or goal.