# Calling a contemporary dance show?



## NZSM (Sep 2, 2010)

Hello, new here.

I know it's not done that often but my superiors want me to call a contemporary dance show, the only thing is, I mainly work in theatre, so not only is this my first dance show, but I have no idea how to call dance.

For instance, in theatre you read through the script and call by dialogue, however in dance there is little to none, just wondering if anyone has of has any tips on calling a dance show.

Also, how to set out my calling sheet because obviously I don't have a script.

I'm sure I'll figure all this out during plot tomorrow, but thanks!


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## kiwitechgirl (Sep 2, 2010)

What are they running their music off? You could call from timings on the CD player/playback software, if you can sit somewhere where you can see the readout! Your other option is to write very specific notes based on the choreo - "girl with black hair spins three times OP then crosses USC", "girl in red dress lies on floor and wiggles left foot" etc etc - maybe with rough timings, if you can't see the playback display then see if you can get the operator to give you 30-second intervals over comms.


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## NZSM (Sep 2, 2010)

Sweet, thanks for the help, all good ideas. The music is being controlled by QLab, the only problem is the pieces without music haha, and detailed notes comes naturally to a stage manager haha.


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## SteveB (Sep 2, 2010)

I've seen a number of methods used. One is a simple stopwatch, started from when the sound GO is called for the start of the music. Another is the SM in the wing makes notes as to the action of the dancing. Here's a link to Tom Skeltons lighting design and assorted notes from Fall River Legend for the American Ballet Theatre at the Metropolitan Opera in 1991. 

Theatrical Lighting Database

Note that in the Calling Scripts for this piece, text notes are used as to dance action for most cues, but visual diagrams are used as well to indicate position on stage and movement and direction of the dancers. 

I've also seen very elaborate versions of lighting magic sheets, with a cue on ea. page with a sketch of positions and movement of the dancers. 

So the answer is all, all of the above.


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## Footer (Sep 2, 2010)

This is one place that is it very hard for someone who is not familiar with dance to be able to call. Go with the stopwatch but you can not trust it. Lighting 90% of the time in dance is dictated by the movement, not the music or time. Use a stopwatch to get you close, use a well written cue sheet to get you exact. You really have to approach calling dance just like calling music. It has its own language and if you know the language your life will be easier. 

Just a side note, anyone out in the CB world who wants to become a dance LD, go take some dance classes. It will let you learn the language and allow you to better break down what you see onstage.


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## derekleffew (Sep 2, 2010)

"LightQ# 26 should happen after the pas de bourrée, just before the petit jeté."

Huh?

-------
From the greatest movie about show business ever:


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## Footer (Sep 2, 2010)

derekleffew said:


> "LightQ# 26 should happen after the pas de bourrée, just before the petit jeté."
> 
> Huh?
> 
> ...




I love the made for TV version of that movie. There is so much nudity that they airbrush clothes on people. Gotta love a Saved by the Bell star's last gasp for fame. Oh, and they explore the most important job in any vegas show.... the ice man.


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## Grog12 (Sep 2, 2010)

Not done that often? Its done in every contempary and modern show I can think of. I run a mixture based on each piece in the show. I make it too as many rehersals as possible and make a video of run throughs. I plan out my lighting based on timecode with a stopwatch and movement of the dancers. You have to have both because its an imperfect science. I write out a Q sheet that tells me the Time of the Q (via stopwatch) what the call is (LQ 25 or Curtain or SQ A ect) what's happening on stage, which track we're in on the CD and what the track time is if applicable. I start my stop watch when the piece starts not when the music starts because our pieces don't always start with sound. NZSM feel free to PM me any questions you might have. 

Also here's the biggest bit of advice learn to count 8's. Knowing how to count like a dancer makes calling a show *INCREDIBLY* easier.


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## mstaylor (Sep 2, 2010)

My first wife was a dance instructor and choreographer. I have done more than my share of dance from the 3 yr old darlings to professional dance troups. I have run cues off a combination of movement and music. What I never done is used time code or a watch.


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## Drmafreek (Sep 7, 2010)

Lots of good thoughts and ideas in this thread. I LD 2 dance shows each academic year. I am constantly training new stage managers due to the turnover rate in academia (why must my best ones graduate so quickly.) Anyways, I agree with needed to watch the rehearsals, video record rehearsals and know the dances in and out. Knowing the terminology is a major boon as well. I was in a dance company in undergrad and I cannot tell you how helpful it is to know what they are talking about onstage. Finally, use your tech rehearsals and dress rehearsals to the best of your ability. Run the dances as much as you can so that you can get practice in. Eventually the hope is that the show just starts to come naturally to you.


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