The following essay proposes a series of basic notions on choreography, notes based on a personal methodology with which to analise, judge and excercise composition in choreography. An analysis of choreography from the point of view of dance as a deeply musical activity which is governed, in its primary and most abstract level, more by musical parameters than by theatrical ones. I believe that we are at the end of this century in a period of synthesis of achievements.
Creativity finds expresion through an interpretation and reclaim of our legacy.
Textured, dense and rounded lirical movement co-existing with purity of lines. On the whole there is a tendency of cross fertilisation and exchange between the various schools and techniques making it difficult nowadays to differentiate between a classical or modern dancer as a result of the breakdown of tabus and barriers, and the subsequent formation of dancers in the various techniques inherited. Likewise, the assimilation of contemporary works into the repertoire of once classical companies presages a future were so called classical ballet companies will be bearly differentiated from contemporary companies. The dance phrase is the nucleus of the choreography and the Solo itself the nucleus of the dance phrase. Once analised the dance phrase through the Solo, let us proceed to analyse composition in a Duet.