CHOREOGRAPHY IN DRAMA
CHOREOGRAPHY IN DRAMA-
Choreography can be a plan for how dancers will move on a stage during a show, play or dance.
The art of practice of designing sequences of movements of physical bodies in which motion, form or both are specified. Choreography is particularly important in musical theatre, ballet, opera and dance recitals. However, choreography often forms an integral part of drama, too.
However, there has been a rough division between dramatic dance and formal dance.
Dramatic dance expresses or imitates emotion, portrays character and narrative action
Formal dance stresses the lines and patterns of movement itself
Since dance movements are often closely related to everyday forms of physical expression, there is an expressive quality.
In addition to this, it is used extensively in dramatic dance to communicate action or emotion. Like, the aggression depicted in stamping movements, the exhilaration communicated by jumping, etc.
CHOREOGRAPHY IN DRAMA
As we all know in many cultures, music, drama and dance are inseparable art forms. Since choreography in drama must seamlessly mingle with the whole storyline and performance, a choreographer must work in tandem with the director of the theatre. We all know very well while staging a drama dance movements are essential.
The choreographer must gain a full understanding of the director’s vision of the show, including the style and pacing and must be thoroughly familiar with the script and music.
Director’s vision includes the story, characters and overall artistic intern and such can only be successful through drama choreography. While working in group theater, choreographers often need to work with non-dancers or dancers with limited experience. So the steps, movements and experience need to be planned accordingly.
CHOREOGRAPHY IN PRODUCTION OF KOLAHAL THEATRE WORKSHOP
At Kolahal Theatre Workshop, we have successfully produced three dramas, each with one of the stigmatized sections of our society.
In our first production “Bishakto Panchali”, where we worked with the people of third gender, the story revolved round a female impersonator (men portraying the opposite gender on stage ) and the story of his emotional journey as a lead artist in a theatre troop.
In our second production ” Jhorafuler Rupkatha “, which was our venture with the women from different red light areas of Kolkata, there were several sequences involving choreography.
This play showcased a wide range of dance movements with the songs starting from raunchy numbers to Tagore’s songs.
There was even a ” Mujraah ” (courtesan’s dance) as per the demand of the script. The songs and dances mingled so effortlessly in the narrative of the play, that they helped the story to reach its climax.
This play of ours was hugely appreciated by the audience and it is an example of how choreography in drama can be successfully used to support the story, the characters of the play and the narrative.
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