Dance Captain

The saltation passkey is a member of the connection who maintains the artistic standards of all Choreography and/or musical comedy represent in a production. The jump Captain shall always work in tandem bicycle with the St shape up charabanc in transportation and maintaining the creative intentions of the production. The leap Captain is a member of the company who maintains the artistic standards of all createy and/or musical staging in a production. The Dance Captain shall always work in tandem with the Stage Manager in conveying and maintaining the creative intentions of the Artistic Staff.The Advisory Committee on Chorus personal business (ACCA), in conjunction with the Dance Captain Subcommittee, is issuing these suggested guidelines to assist the Dance Captains in their assigned position. 1. respecting Artistic Standards and Technique of Original Production a. check over musical staging and choreography, give notes and/or schedule brush-up rehearsals (in coordinat ion with the Stage Manager). Maintain all musical staging and choreography in the original tendency, intent, proficiency and energy level. (Note All rehearsals ar called by the Stage Manager as per allotted hours decline forth in the contract). . Maintain original spatial arrangement and positions in musical turnings. c. Make sure condition of stage, rehearsal and/or audition space is safe and suitable for musical staging and/or choreography for rehearsals and coifances. d. Within a reasonable period of time afterward show is set, the Dance Captain shall learn all choreography and musical staging. e. In cases of complaints or differences of opinion between cast members concerning choreography and/or musical staging, the Dance Captain shall make the decision. f. The Dance Captain may not be required to block non-musical scenes. . Responsibilities to Understudies and Swings a. assist the Stage Manager and choreographer, or their assistants, in the assignment of understudies and swings for numbers and important bits of business in musical staging and/or choreography. b. See that understudies and swings are prepared to perform assignments in musical numbers. 3. Responsibilities for Replacements a. Audition replacement Actors in regards to musical staging and/or choreography when required. b. Teach chorus or principal replacements choreography and staging of musical numbers. . Rehearse replacement with cast members involved in musical numbers prior to their showtime military operation. d. Apprise Actors of possible goodly problems they may encounter, such as quick change set-ups, involvement with set 1changes or use of props in coordination and cooperation with Stage Manager. Work environment. Dance is exhausting. In fact, leaprs assume one of the highest rates of nonfatal on-the-job injury. legion(predicate) saltationrs, as a result, stop performing by their of late thirty-something because of the physical demands on the body.Nevertheless, some co ntinue to work in the land as choreographers, artistic directors, and bound teachers and coaches, while a small number may move into administrative positions, such as company managers. A few celebrated professional trip the light fantastic toers, however, continue performing most of their lives. legion(predicate) dance companies tour for break down of the year to accessary a limited performance schedule at home. Dancers who perform in musical productions and opposite family merriment spend much of their time on the road others work in nightclubs or on cruise ships.Most dance performances are in the evening, whereas rehearsals and practice ordinarily force place during the day. As a result, dancers ofttimes work very long and late hours. Generally, dancers and choreographers work in modernistic and temperature-controlled facilities however, some studio apartments may be older and less comfortable. Dancers generally get long-term on-the-job preparation to be successful. Most dancers dumbfound nut bringing up at an early agebetween 5 and 15and many be in possession of their first professional audition by age 17 or 18. Some earn a bachelors degree or attend dance school, although neither is required.Becoming a choreographer usually requires years of experience. Education and prepare Training varies with the type of dance and is a around-the-clock part of all dancers careers. Many believe that dancers should start with a good foundation in classical technique before selecting a position style. Ballet training for girls usually begins between the ages of 5 to 8 with a private teacher or through an independent ballet school, with much serious training beginning between the ages of 10 and 12. Boys often begin their ballet training between the ages of 10 and 15.Students who demonstrate potential in their early teens may jar againstk out more than intensive and sophisticated professional training. At about this time, students should begin to foc us their training on a particular style and decide whether to pursue additional training through a dance companys school or a college dance program. Leading dance school companies often have summer training programs from which they select foundationdidates for admission to their regular full-time training programs. Formal training for modern and culturally specific dances often begins later than training in ballet however, many folk dance forms are taught to very puppyish children.As a result, a good number of dancers have their first professional auditions by age 17 or 18. A college raising is not essential for employment as a professional dancer however, many dancers obtain degrees in unrelated fields to prepare themselves for careers after dance. The completion of a college program in dance and education is usually essential to qualify to teach dance in college, high school, or elementary school. Colleges and conservatories sometimes require graduate degrees but may gestate p erformance experience. A college background is not necessary for commandment dance or choreography in local recreational programs.Studio schools prefer teachers to have experience as performers. Dancers generally need long-term on-the-job training to be successful. Most dancers begin formal training at an early agebetween 5 and 15and many have their first professional audition by age 17 or 18. Some earn a bachelors degree or attend dance school, although neither is required. Becoming a choreographer usually requires years of experience. There are many advantages to being a dancer a dancers life is no 9 to 5 job. Some days you may work conscionable three or four hours, and others you result be dancing until the late hours.Your schedule will depend on the type of job you have booked. In between set gigs, you will similarly be running(a) by attending auditions, as well as participating in workshops to continue learning new dances techniques. Staying In Shape In post to be a succ essful dancer, your body must be in superb shape. Alternate between different dance styles and stretching routines to relish muscles in all areas of the body. This will keep your body flexible to evacuate pulling or spraining joints and muscles. Changing up your routine will also keep it from becoming monotonous, and open you up to new choreographic styles, as well.Being able to work out as a part of your profession will benefit your health even after you retreat from the field. Travel Opportunities, Travel is one of the top perks of dance field. Travel acknowledges you to see new places, experience new foods and cultures, and meet interesting new people. Many dance troupes get the chance to travel around the U. S. and even internationally if they are part of a company. Food and lodging are typically covered, so you wont need to cover these sorts of expenses. Working for Yourself Being a dancer is largely a freelance job, since many dancers work for several companies on a part- time basis.This means that you work when you want to work, and you can take a break when you need to, provided you have the resources to do so. If you prefer to suck up a steady paycheck, opening up your own dance studio may be the right path. You can choose the dance style you want to teach, be it ballet, tap, jazz, modern, or even ballroom or hip-hop. You will also be able to select the hours of operation and the method for enrolling students. orifice your own studio will also give you the chance to choreograph your own dance routines and pass the art form down to others to enjoy.In spite of these advantages there are also many challenges to working in the dance industry. Median hourly hire of dancers were $12. 22 in whitethorn 2008. The middle 50 percent realise between $8. 03 and $18. 82. The lowest 10 percent earned less than $7. 28, and the highest 10 percent earned more than $27. 26. Annual wage data for dancers were not available, because the wide variation in the number of hours worked by dancers and the short-term nature of many jobswhich may finally for 1 day or 1 weekmake it ancient for dancers to have guaranteed employment that exceeds a few months.Median annual wages of salaried choreographers were $38,520 in May 2008. The middle 50 percent earned between $25,320 and $55,360. The lowest 10 percent earned less than $17,880, and the highest 10 percent earned more than $67,160. Median annual wages were $37,570 in other schools and instruction, the North American Industry Classification System mob that includes dance studios and schools. Dancers who were on tour usually received an additional adjustment for room and board, as well as extra compensation for overtime. salary from dancing are usually low because employment is irregular.Dancers often supplement their income by working as guest artists with other dance companies, teaching dance, or taking jobs unrelated to the field. Earnings of dancers at some of the largest companies and in com mercial settings are governed by union contracts. Some dancers in major opera ballet, classical ballet, and modern dance corps belong to the American Guild of Musical Artists, Inc. of the AFL-CIO those who appear on live or videotaped boob tube programs belong to the American Federation of Television and Radio Artists those who erform in films and on television belong to the Screen Actors Guild and those in musical firm are members of the Actors Equity Association. The unions and producers sign basic agreements specifying minimum salary rates, hours of work, benefits, and other conditions of employment. However, the contract each dancer signs with the producer of the show may be more favorable than the basic agreement. Most salaried dancers and choreographers covered by union contracts receive some paid sick leave and unhomogeneous health and pension benefits, including extended sick pay and family-leave benefits provided by their unions.Employers tolerate toward these benefits . Dancers and choreographers not covered by union contracts usually do not enjoy such benefits. I selected this career because I believe that a career as a dance captain can be very challenging and I always ready for new challenges. I am also very concerned about being health and a career as a dancer will allow me to do what I love and keep my body healthy. I see this career to be very enjoyable because of the joy that dance can bring to others and myself and that is why I would like to be a dancer. Dance captain