Manipulating the geometry of space for two or three dancers

In relation to two or three dancers, you should consider:

• direction — orientation of the shape or movement e.g. forward, backward, sideways, up or down.
• dimension — the volume of space which a shape or non-locomotor movement uses e.g. height, width, depth.
• plane — the two-dimensional space of a shape or movement e.g. door (frontal), table (transverse), wheel (sagittal).

Movement in different directions, shapes of different sizes and on different planes can also add interest to a dance work, particularly when using two or three bodies in the space. Using direction, dimension and plane properly will also reinforce the concept you are trying to communicate.

Manipulating the pathways and design in space for two or three dancers

A pathway in dance can mean two things:

• the path or pattern made by a body part through space (non-locomotor). This pathway can also be called a gestural pattern.
• the path or pattern a dancer makes when travelling across the floor (locomotor). This pathway is also called a floor pattern.

When you are performing a dance, it is important to consider and understand the pathways in relation to the ideas you are trying to communicate.

Pathways can be:

• straight
• angular
• curving
• symmetrical
• asymmetrical
• any combination of the above.

Pathways may have a symbolic meaning. For example, circular pathways may suggest a cycle in nature, or eternity, with no beginning and no ending. Angular and straight pathways may communicate frustration or even mechanic movement. Symmetrical pathways can communicate a sense of balance and equilibrium.

This is a circular pathway for one dancer but imagine the interesting patterns that could be created with 2 to 3 dancers in the space to assist in communicating meaning.

Manipulating the performance space for two or three dancers

The performance space, the space in which the dancers move on and in can be manipulated and explored to further enhance the concept/intent. The arrangement of the bodies in the space adds interest; careful consideration must be given to where the dancers are positioned. Examples can be seen below.

You as the choreographer must consider many aspects of the stage space when you composing your work. These include:

• the positioning of dancers
• the orientation of movement
• the direction and shape of pathways
• the relationships of dancers as they move
• entrances and exits of dancers
• the positioning and use of props.

The choreographer needs to reflect on how each dancer uses his/her personal space, ‘the space around your body, also known as your kinesphere’ and the general space, ‘the space beyond your body that you move through as you dance.’ Both the personal and the general space are explored and manipulated to create relationships within the space to further communicate a concept/intent.