The Dance Captain is a member of the company who maintains the artistic standards of all Choreography 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 production. The Dance Captain is a member of the company who maintains the artistic standards of all choreography 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 Affairs (ACCA), in conjunction with the Dance Captain Subcommittee, is issuing these suggested guidelines to assist the Dance Captains in their assigned position. 1. Maintaining Artistic Standards and Technique of Original Production a. Review musical staging and choreography, give notes and/or schedule brush-up rehearsals (in coordination with the Stage Manager). Maintain all musical staging and choreography in the original style, intent, technique and energy level. (Note: All rehearsals are called by the Stage Manager as per allotted hours set forth in the contract). b. Maintain original spacing and positions in musical numbers. c. Make sure condition of stage, rehearsal and/or audition space is safe and suitable for musical staging and/or choreography for rehearsals and performances. d. Within a reasonable period of time after 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. 2. 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. c. Rehearse replacement with cast members involved in musical numbers prior to their first performance. d. Apprise Actors of possible technical 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, dancers have one of the highest rates of nonfatal on-the-job injury. Many dancers, as a result, stop performing by their late thirties because of the physical demands on the body. Nevertheless, some continue to work in the field as choreographers, artistic directors, and dance teachers and coaches, while a small number may move into administrative positions, such as company managers. A few celebrated dancers, however, continue performing most of their lives. Many dance companies’ tour for part of the year to supplement a limited performance schedule at home. Dancers who perform in musical productions and other family entertainment 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 usually take place during the day. As a result, dancers often work very long and late hours. Generally, dancers and choreographers work in modern and temperature-controlled facilities; however, some studios may be older and less comfortable. Dancers generally need long-term on-the-job training to be successful. Most dancers begin formal training at an early age—between 5 and 15—and many have their first professional audition by age 17 or 18. Some earn a bachelor's degree or attend dance school, although neither is required....
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