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WGU-Visual Arts 5
WGU-Dance & Critical Thinking
| Question | Answer |
|---|---|
| Choreography | Formal composition of dance into a meaningful whole, expressing a theme, narrative, or emotion |
| Ritual Dance | Possessing spiritual, religious, ceremonial, symbolic, or magical value |
| Social Dance | Dance with communal, recreational, & social function |
| Theatre Dance | Conceived purely as art & intended to be performed before an audience |
| Force | Amount of energy exerted as dancers perform; movements performed with different amount of force evokes different moods & feelings |
| Dynamics | Describes variety of force & energy expended over time & increases the variety & interest of a dance |
| Movement Quality | Percussive movements: start & stop abruptly, giving sharp definition between positions; sustaining movements: fluid, organic motions as they move from one pose to another |
| Positive/Negative | Audience visualizes the dancer as "positive" space carving through "negative" space of the dancers setting |
| Focus | Choreography directs viewers focus to focal points |
| Levels | Refers to dancers body's relationship to the floor |
| Symmetry/Asymmetry | Principle governing placement of dancers bodies; symmetry: stability & security, asymmetry: stimulation & excitement |
| Relationships | Human: reciprocal actions that mirror human interactions; movement: based on visual qualities |
| Measurement | Mechanical: clocks, metronome, rhythm; natural: heartbeats, breathing, muscle contractions |
| Tempo/Duration | Tempo is speed of dance or speed at which timing is set to measure beats; duration is length of time it takes to perform an action |
| Compositional Elements | Movement, phrase, combination, performance; choreography makes up composition |
| Compositional Forms | “AB” is simple 2 part form, "ABA" form adds complexity; “narrative” form arranges movements & props to tell a story, abstract” form evokes emotional response from the viewer |
| Positioning | Dancers position on stage & in relation to each other is important in contributing to meaning & mood |
| Improvisation | Dancers personal expression |
| Content | Literal: dancers use recognizable movements; non-literal: abstract movements for visual impact rather than narrative |
| Lighting | Used more intensely to show mood than in theatre; directs audience to certain stage areas |
| Theatrical Elements | Costumes & props that do not take away form the dance movements |
| Music & Sound | Sets rhythm & establishes mood; also ambient noises |
| Folk Dance | Ritual dance, transmitted to each succeeding generation by demonstration; source of ethnic & national pride |
| Court Dance | Embraced by the aristocracy of Europe, refined, less robust or active, strictly prescribed & highly stylized |
| Ballet | Classical form, features staged presentation of group or solo dancing with music, costumes, scenery, & narrative story |
| Modern Dance | Movement with out inhibition; natural, spontaneous & free, performed barefooted |
| Jazz Dance | Movements & gestures inspired by jazz |
| Jazz Dance | Tap Dance |
| Jazz Dance | Swing Dance |
| Jazz Dance | Boogie-Woogie |
| Jazz Dance | Cakewalk |
| Jazz Dance | Charleston |
| Jazz Dance | Jitterbug |
| Jazz Dance | Break Dancing |
| Jazz Dance | Hip Hop |
| Court Dance | Allemande |
| Court Dance | Courante |
| Court Dance | Sarabande |
| Court Dance | Gigue (Jig) |
| Court Dance | Passepied |
| Court Dance | Bourree |
| Court Dance | Pavane |
| Court Dance | Gavatte |
| Court Dance | Galliard |
| Court Dance | Muneut |
| Arabesque | Classical ballet pose in which the body is supported on one leg & other leg is extended behind with knee straight |
| Virtuoso | Display of impressive technique or skill |
| Mise en scene | Elements of ballet production: sets, scenery, props, costumes, makeup lighting, & special effects |
| En pointe | Ballet skill of dancing on tip toes |
| Pirouette | Ballet; a slow turn on one leg, standing en pointe |
| Fouette | Ballet; a fast spin on one leg, driven by the whipping motion of the other leg |
| Entrechat | Ballet; a jump straight upward, changing the position of the feet while airborne |
| Jeté | Ballet; a leap, pushing off from one leg and landing on the other |
| Arabesque | Ballet; a position, standing on one leg with the other leg extended straight backward |
| Attitude | Ballet; a position, standing on one leg with the other leg extended backward with the knee bent |
| Tour | Ballet; a turn |
| Saute | Ballet; a jump |
| Battement | Ballet; a kick |
| Pas | Ballet; a step, or a dance |
| Pas de deux | Ballet; a "dance for two," or duet |
| Pas seul | Ballet; a "dance alone," or solo |
| Formal Criticism | Only looks at the things you see (or hear) in the work of art or music; the "elements" that make up the piece |
| Contextual Criticism | Looks at the facts and information about the artist, the culture and history involved, the response to the artwork, and also considers an artist's cultural experiences |
| Structuralism | Looks for the underlying myths and symbols that occur in artworks from various periods and tries to make connections with how artists use these symbols to communicate ideas; the relationship of these elements within the artwork to one another |
| Deconstruction | Looks to take apart the underlying structure in an artwork and states that no single meaning or absolute truth can be derived from the artwork |
| Normative Value | Set forth as norms or ideals or what ought to be |
| Intrinsic Value | Value of an activity or object involving the immediacy of feeling; belonging to its essential nature or constitution |
| Extrinsic Value | Applies to what is distinctly outside an activity or object; or is not contained in or derived from its essential nature |
Created by:
lpedro
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