I85PREP
⌘ K
NZ Scholarship Dance study materials
NZ Scholarship Dance study resources

NZ Scholarship Dance practice questions

One question at a time. Build your NZ Scholarship Dance understanding.

First 50 of 200 questions. Each one lists the choices, the correct answer, and an explanation. The checker at the top of this page saves progress in this browser when it is available.

Continue in the practice tool above to load more questions, 50 at a time.

Question 1Dance

In a dance review, a writer notes that the choreographer used 'retrograde' movement in a phrase. What does this term describe?

  1. The movement is mirrored from left side to right side
  2. The phrase is repeated at a faster tempo each cycle
  3. The movement sequence is performed in reverse order Correct answer.
  4. The phrase is performed by a different dancer each time it recurs

Explanation

Retrograde means reversing the order of a movement sequence, so the phrase runs backwards from its final action to its first. It is a compositional device that alters how momentum and phrasing read on stage. Mirroring, canon, and tempo change are separate devices and should not be confused with retrograde.

Question 2Dance

A choreographer sets a solo so that its movement material is generated from the dancer's own personal memories of a place. Which term best describes this approach to creating movement?

  1. Chance procedure
  2. Improvisational scoring
  3. Autobiographical movement generation Correct answer.
  4. Site-specific composition

Explanation

When movement is drawn from a dancer's own lived experience and memory, the process is autobiographical: the source material is the performer's personal history. Site-specific work is defined by its location, chance procedures remove personal choice, and improvisational scoring structures spontaneous choice rather than mining memory. The distinction lies in where the raw material originates.

Question 3Dance

During a duet, one dancer lifts the other while the lifted dancer maintains a strong, shaped body line. Which term describes the lifted dancer's role in this moment?

  1. Base
  2. Understudy
  3. Spotter
  4. Flyer Correct answer.

Explanation

In partnering vocabulary the dancer who is supported or lifted is the flyer, while the supporting dancer is the base. The flyer's job is to hold a clear shape and manage their own weight within the lift. A spotter assists safety, and an understudy is a rehearsal cover, so neither describes the lifted role.

Question 4Dance

A dancer describes her movement as having 'suspension' at the top of a jump. What is she most likely referring to?

  1. A sudden collapse of the body on landing
  2. A brief held moment at the peak before the descent begins Correct answer.
  3. A quick, percussive accent on the take-off
  4. A continuous vibration through the limbs in the air

Explanation

Suspension in dance describes the momentary hovering quality at the apex of a movement, where the rise appears briefly held before gravity takes over. It is a dynamic quality related to timing and weight, not a percussive accent or a collapse. Choreographers use suspension to create the illusion of floating.

Question 5Dance

In Laban Movement Analysis, which category describes how a dancer's energy is released or controlled through time, weight, space, and flow?

  1. Effort Correct answer.
  2. Body
  3. Shape
  4. Space harmony

Explanation

Effort in Laban Movement Analysis addresses the dynamic qualities of movement: how weight, time, space, and flow combine to produce expressive intention. Body concerns what moves, shape concerns how the body forms change, and space harmony concerns spatial pathways. Effort is the category most directly tied to energy release and control.

Question 6Dance

A choreographer wants a phrase to travel diagonally across the stage from upstage left to downstage right. Which term names this spatial choice?

  1. Level change
  2. Stage geography
  3. Floor pattern Correct answer.
  4. Body facings

Explanation

The path a dancer travels through the space is called the floor pattern, so a diagonal crossing is a floor-pattern decision. Stage geography names the fixed zones of the stage, facings describe orientation of the body, and level change concerns height. The question asks specifically about the travelled path.

Question 7Dance

A reviewer praises a dancer's 'clear articulation of the torso and limbs as separate initiating centres'. Which concept from dance training does this most directly describe?

  1. Alignment
  2. Extension
  3. Elevation
  4. Isolation Correct answer.

Explanation

Isolation is the ability to move one body part independently while the rest of the body remains stable, so separate initiating centres are its hallmark. Alignment concerns the stacking of the skeleton, extension concerns lengthening, and elevation concerns height in jumps. The reviewer's phrase points squarely to isolated control.

Question 8Dance

In a contemporary dance work, the lighting designer uses a low side light from the wings. What is the primary effect of this choice on the dancers' bodies?

  1. It creates a sharp shadow of the set onto the cyclorama
  2. It flattens the body and removes all shadow
  3. It washes the whole stage in an even, neutral tone
  4. It emphasises three-dimensional form and sculpts the body Correct answer.

Explanation

Low side light rakes across the body and casts long shadows, which sculpts the dancers' form and makes volume and shape read strongly. Frontal wash light flattens and evens out the body, which is the opposite effect. Designers choose sidelight when the choreography's shapes need emphasis.

Question 9Dance

Which of these best describes the function of a 'call' in professional dance performance practice?

  1. A signal that the show is about to begin and performers must be ready Correct answer.
  2. A style of percussive footwork in tap
  3. A rehearsal technique for generating new movement
  4. A note given by a critic after the performance

Explanation

The call is the scheduled time by which performers must be present and ready, and the stage manager's call signals readiness and the start of the show. It is a production-management term, not a critical or choreographic one. Confusing it with a rehearsal device or a dance style misreads the professional convention.

Question 10Dance

A dance work uses a repeated motif that changes slightly each time it returns, building a sense of development without literal repetition. Which term best names this device?

  1. Unison
  2. Tableau
  3. Theme and variation Correct answer.
  4. Canon

Explanation

Theme and variation takes a core motif and alters it through changes in timing, level, direction, or quality, which produces development while retaining recognisability. Canon involves staggered imitation, unison is simultaneous identical movement, and tableau is a still picture. The described device is theme and variation.

Question 11Dance

A dancer performs a series of quick, sharp, staccato movements followed by a long, sustained phrase. Which element of dance is being most clearly manipulated?

  1. Space
  2. Alignment
  3. Dynamics Correct answer.
  4. Form

Explanation

Dynamics describes how movement is performed in terms of energy and timing, so contrasting staccato and sustained qualities are a dynamic choice. Space concerns where movement goes, form concerns the overall structure, and alignment concerns posture. The contrast described is about quality, which is dynamics.

Question 12Dance

In a group work, three dancers perform the same phrase starting one after another at staggered intervals. Which compositional device is this?

  1. Rondo
  2. Accumulation
  3. Canon Correct answer.
  4. Counterbalance

Explanation

A canon occurs when dancers perform the same material with staggered entrances, producing overlapping imitation. Accumulation adds one new element at a time, rondo is a recurring sectional structure, and counterbalance is a partnering principle of opposing weight. The staggered imitation described is a canon.

Question 13Dance

A choreographer uses a 'task-based score' in rehearsal. What does this most likely involve?

  1. Dancers memorise a fixed sequence set by the choreographer
  2. Dancers copy a recorded phrase exactly from video
  3. Dancers are given a set of instructions or constraints to solve through movement Correct answer.
  4. Dancers perform only codified classical vocabulary

Explanation

A task-based score gives performers a problem or set of constraints, and the movement emerges from how they solve it in the moment. This is a common improvisation and devising strategy in contemporary practice. Copying video, memorising fixed sequences, and using codified vocabulary all rely on predetermined material rather than open tasks.

Question 14Dance

Which statement best explains why a choreographer might use 'abstraction' rather than literal narrative in a dance work?

  1. Abstraction is only possible when music is absent
  2. Abstraction removes the need for any compositional structure
  3. Abstraction guarantees that every audience member reads the same story
  4. Abstraction allows meaning to remain open and be interpreted differently by each viewer Correct answer.

Explanation

Abstraction strips away literal representation so that movement can carry multiple possible meanings, inviting each viewer to interpret. It does not fix a single reading, nor does it remove structure; abstract works are still carefully composed. Music is not a precondition for abstraction.

Question 15Dance

A dancer keeps the pelvis stable while the ribcage circles. Which technical skill is she demonstrating?

  1. Isolation Correct answer.
  2. Contraction
  3. Turnout
  4. Spiral

Explanation

Holding one body part still while another moves independently is isolation, a core skill in jazz, contemporary, and many other techniques. A spiral involves sequential rotation through the spine, contraction is a release-based curl of the torso, and turnout is external rotation at the hips. The described action is isolation.

Question 16Dance

A programme note says a work uses 'multimedia integration'. Which example best illustrates this?

  1. Dancers wearing costumes designed by a visual artist
  2. Dancers performing under coloured gel lighting
  3. Live dancers interacting with projected video that responds to their movement Correct answer.
  4. Dancers performing to a recorded orchestral score

Explanation

Multimedia integration means more than one medium actively shapes the work, so live movement interacting with responsive video is a clear example. Recorded music, costumes, and lighting are standard production elements that support dance without constituting integrated media. The key is interaction between media, not mere accompaniment.

Question 17Dance

Which best describes the role of a 'dramaturg' in the creation of a new dance work?

  1. They set the choreography and teach it to the dancers
  2. They provide outside perspective on structure, meaning, and coherence Correct answer.
  3. They manage the technical crew during performances
  4. They compose the music for the work

Explanation

A dramaturg offers an outside eye on how a work reads, questioning structure, clarity, and meaning without dictating the choreography. Setting movement is the choreographer's role, running the crew is the stage manager's, and composing is the composer's. The dramaturg's contribution is analytical and dialogic.

Question 18Dance

A dancer preparing for a demanding season is advised to include 'periodisation' in training. What does this mean?

  1. Structuring training into planned phases of loading and recovery across a calendar Correct answer.
  2. Performing only one style of dance to perfect it
  3. Training exclusively at high intensity every day
  4. Replacing technique class with cardio sessions

Explanation

Periodisation organises training into cycles with varying volume and intensity, including planned recovery, to peak for performances while reducing injury risk. It is the opposite of constant maximal loading or narrow single-style practice. The concept comes from sports science and is now standard in dancer conditioning.

Question 19Dance

A dancer lands a jump and immediately absorbs the impact by bending the knees and hips while keeping the heels grounded. Which principle does this illustrate?

  1. Spotting to prevent dizziness
  2. Turnout to increase range at the hip
  3. Elevation through ankle extension
  4. Soft landing mechanics to dissipate force through the kinetic chain Correct answer.

Explanation

Bending the knees and hips on landing allows the muscles and joints to absorb force progressively, reducing stress on the body. This is a core injury-prevention principle in jump training. Elevation concerns the rise, spotting concerns orientation in turns, and turnout concerns hip rotation. The described action is a soft landing.

Question 20Dance

Which pairing correctly matches a dance form with a characteristic feature?

  1. Flamenco and pointe work
  2. Ballet and percussive tap shoes
  3. Hip hop and barre work at the ballet barre
  4. Kathak and rhythmic footwork with ankle bells Correct answer.

Explanation

Kathak is a North Indian classical dance known for intricate rhythmic footwork, often accompanied by ankle bells (ghungroo) that sound with each step. The other pairings attach a feature to a form where it does not belong. Matching form to feature requires knowing each tradition's distinctive practices.

Question 21Dance

A choreographer wants the audience seated on all four sides of the performance area. Which staging format is this?

  1. Traverse
  2. Thrust
  3. Proscenium
  4. Arena or in-the-round Correct answer.

Explanation

In-the-round staging places the audience on all sides of the performance area, so the choreographer must design movement that reads from every angle. Proscenium is end-on, thrust has audience on three sides, and traverse has audience on two opposing sides. The four-sided arrangement is arena or in-the-round.

Question 22Dance

In analysing a dance work, a student notes that the movement quality shifts from bound and controlled to free and released. Which framework most directly supports this analysis?

  1. The rehearsal call sheet
  2. The proscenium arch
  3. Laban's effort qualities Correct answer.
  4. The stage geography grid

Explanation

Laban's effort qualities describe movement in terms of weight, time, space, and flow, including the continuum between bound and free flow. This vocabulary gives precise language for describing qualitative change. Stage geography, the proscenium, and call sheets are spatial or production terms with no bearing on movement quality.

Question 23Dance

A dance film uses close-up shots and rapid cuts between body parts. How does this editing choice most affect the viewer's experience compared with live performance?

  1. It allows the viewer to choose where to look at any moment
  2. It fragments the body and directs attention in ways a live audience cannot control Correct answer.
  3. It removes the choreographer's control over framing
  4. It makes the dancers' spatial relationships fully transparent

Explanation

Camera framing and editing select and fragment what the viewer sees, so the choreographer and filmmaker control attention in a way live performance cannot. In live performance, each audience member chooses where to look. Close-ups and rapid cuts heighten fragmentation rather than transparency.

Question 24Dance

A choreographer deliberately places two contrasting movement phrases side by side without transition. Which compositional principle is being used?

  1. Retrograde
  2. Accumulation
  3. Juxtaposition Correct answer.
  4. Augmentation

Explanation

Juxtaposition places contrasting material adjacent to each other so that the difference is highlighted, often without a bridging transition. Accumulation adds elements progressively, augmentation lengthens or enlarges a motif, and retrograde reverses a sequence. The deliberate side-by-side contrast is juxtaposition.

Question 25Dance

A work credits a 'rehearsal director'. Which description best matches this role in a professional dance company?

  1. They write critical reviews of the company's performances
  2. They design the lighting and sound for each production
  3. They manage ticket sales and front-of-house operations
  4. They maintain the artistic quality and integrity of existing works in the repertoire Correct answer.

Explanation

The rehearsal director coaches dancers, runs rehearsals, and guards the choreographer's intentions so that existing works stay faithful over time. Design is the production team's domain, criticism is the critic's, and ticketing belongs to administration. The role is artistic and custodial.

Question 26Dance

A dancer describes a movement as having a 'swinging' quality, with momentum released away from the body and then allowed to return. In Laban's effort analysis, which combination of factors best matches this description?

  1. Sustained time combined with bound flow
  2. Direct space combined with heavy weight
  3. Light weight combined with sustained time Correct answer.
  4. Strong weight combined with sudden time

Explanation

Laban's effort factors combine weight, time, space and flow. A swing is characteristically light in weight and sustained in time, with free flow allowing the momentum to continue. Heaviness or suddenness would produce a punch or a dab rather than a swing.

Question 27Dance

In Māori performing arts, which term refers to the rhythmic facial expression, including widened eyes and protruded tongue, used to convey intensity and meaning?

  1. Pukana Correct answer.
  2. Waiata
  3. Poi
  4. Haka

Explanation

Pukana is the facial gesture of widened eyes and, in some contexts, the protruded tongue, used to intensify expression in haka and other Māori performance. Waiata is song, poi is the item swung in poi performance, and haka is the broader dance form itself.

Question 28Dance

A choreographer wants a duet to communicate interdependence, with each dancer's weight fully supported by the other at several moments. Which compositional device most directly achieves this?

  1. Unison phrases performed in parallel
  2. Counterbalance and weight-sharing Correct answer.
  3. Canon with an eight-count delay
  4. Spatial separation across the stage

Explanation

Counterbalance and weight-sharing require dancers to give and receive weight, physically embodying interdependence. Unison, canon and separation can all suggest relationship but do not create the literal mutual support described in the stem.

Question 29Dance

A reviewer notes that a soloist's 'plumb line' remains vertical through a series of turns. Which technical principle does this refer to?

  1. The amount of muscular tension held in the arms
  2. The height of the extended working leg during a turn
  3. The speed at which the head spots during rotation
  4. The alignment of the body's centre of gravity over the base of support Correct answer.

Explanation

The plumb line describes vertical alignment of the body's centre of gravity over the base of support, which allows efficient balance in turns. Spotting, leg height and arm tension affect a turn but are not what the plumb line names.

Question 30Dance

A dance work is presented with the audience arranged along two opposite sides of the performance space, with the action unfolding between them. Which staging format is this?

  1. Thrust
  2. Proscenium
  3. Traverse Correct answer.
  4. Promenade

Explanation

Traverse staging places the audience on two opposing sides, so the performers work along a central corridor between them. Thrust has the audience on three sides, proscenium frames the stage at one end, and promenade allows the audience to move with the performance.

Question 31Dance

A choreographer asks dancers to 'underdance' a phrase. What does this instruction most likely require?

  1. Repeating the phrase until it feels automatic
  2. Performing with reduced effort and a restrained internal focus while retaining clarity Correct answer.
  3. Performing the phrase at half the original tempo
  4. Removing all facial expression from the performance

Explanation

To underdance is to hold back visible effort, working with a quieter internal focus while the shape and intention remain clear. It is a quality instruction, not a tempo change, an expression ban or a repetition method.

Question 32Dance

Which statement best explains how a 'sound score' functions differently from a musical accompaniment in some contemporary dance works?

  1. It is used only to cover transitions between sections.
  2. It must follow a fixed tempo that the dancers synchronise to.
  3. It is always performed live by musicians on stage.
  4. It may be created from recorded environmental sound and interact with the movement as an equal element. Correct answer.

Explanation

A sound score can be built from recorded or found sound and treated as an equal compositional element alongside movement, rather than as a fixed rhythmic frame. It need not set tempo, be performed live, or merely cover transitions.

Question 33Dance

A dancer sustains a balance on one leg while slowly extending the free leg to the front, keeping the torso lifted and the supporting leg turned out. Which technical aim is most directly being trained?

  1. Explosive power for elevation
  2. Spatial awareness in group formations
  3. Sustained control through range of motion Correct answer.
  4. Rhythmic accuracy in fast footwork

Explanation

Slow extension while balancing demands sustained muscular control through the available range, often called active flexibility. It is not primarily a power, formation or speed exercise.

Question 34Dance

In dance notation, what is the primary purpose of a movement score such as Labanotation?

  1. To provide a marketing description of the work
  2. To record the movement so that the work can be reconstructed by others Correct answer.
  3. To set the ticket price for a season
  4. To evaluate the aesthetic merit of a choreography

Explanation

Movement notation systems record body action, direction, level and timing so that a work can be restaged accurately without the original dancers. They are descriptive records, not aesthetic judgements or commercial documents.

Question 35Dance

A choreographer sets a phrase in which the dancers begin standing, then gradually sink to the floor over sixteen counts while the arms continue a previously established pattern. Which compositional principle is being used?

  1. Juxtaposition of unrelated phrases
  2. Layering of a new element over an existing one Correct answer.
  3. Retrograde of the original phrase
  4. Chance procedure

Explanation

Keeping the arm pattern while adding a change of level layers one movement element over another. Juxtaposition would place separate phrases side by side, retrograde would reverse the phrase, and chance procedure would leave choices to random methods.

Question 36Dance

Which description best matches the work of a 'lighting designer' in a dance production?

  1. Directing the dancers during technical rehearsals
  2. Composing the sound score for the work
  3. Shaping space, mood and focus through lighting states and cues Correct answer.
  4. Selecting the costumes and their fabrics

Explanation

The lighting designer creates lighting states and cue sequences that shape space, focus and atmosphere in collaboration with the choreographer. Costume, sound and rehearsal direction belong to other roles.

Question 37Dance

A student argues that a dance work 'has no narrative because there are no characters'. Which response best reflects contemporary dance analysis?

  1. Dance works without characters cannot convey meaning.
  2. Narrative in dance always requires named characters.
  3. Narrative is determined solely by the programme note.
  4. Narrative can be suggested through spatial patterning, recurring gesture and emotional progression without characters. Correct answer.

Explanation

Dance can convey narrative or thematic development through structure, gesture, spatial patterning and emotional arc, without literal characters. The other responses wrongly reduce narrative to character or to written documentation.

Question 38Dance

During a contact improvisation jam, two dancers maintain a light point of contact and follow the momentum it generates. Which principle is central to this practice?

  1. Executing a pre-set sequence exactly as rehearsed
  2. Performing only in unison with other dancers
  3. Following the shared physical momentum through ongoing weight exchange Correct answer.
  4. Maintaining a fixed spatial formation at all times

Explanation

Contact improvisation relies on listening through touch and following shared momentum and weight exchange as it arises. It is improvised rather than pre-set, and it does not require fixed formations or unison.

Question 39Dance

A choreographer wants to highlight the negative space around a soloist. Which staging choice would most directly achieve this?

  1. Using a busy, detailed backdrop behind the soloist
  2. Placing the soloist at the very front edge of the stage
  3. Isolating the soloist within a large, sparsely used area Correct answer.
  4. Crowding the stage with a large corps de ballet

Explanation

Negative space is the unoccupied area around a body. Isolating the soloist in a large, sparsely used space makes that surrounding emptiness visible and meaningful. Crowding, a detailed backdrop or pushing the dancer to the edge works against this effect.

Question 40Dance

Which statement best describes the function of a 'warm-up' in a dancer's daily practice?

  1. It raises body temperature and prepares joints and muscles for demanding movement. Correct answer.
  2. It is used only before examinations, not before class.
  3. It builds maximum strength through heavy resistance work.
  4. It replaces the need for a cool-down after performance.

Explanation

A warm-up gradually raises body temperature and prepares joints, muscles and the nervous system for demanding movement, reducing injury risk. It is not a maximal strength session, a substitute for cooling down, or restricted to examinations.

Question 41Dance

A choreographer uses 'site-specific' staging for a new work. Which example best illustrates this?

  1. Performing in a purpose-built theatre with a traditional proscenium arch
  2. Presenting the work at a standard dance festival stage
  3. Performing in a disused warehouse whose architecture shapes the movement Correct answer.
  4. Filming the work in a studio against a neutral backdrop

Explanation

Site-specific work is created for, and responds to, a particular location, so the site's architecture and associations shape the choreography. Neutral studios, standard festival stages and traditional theatres are generic performance settings rather than the site itself.

Question 42Dance

A dancer reviewing a recording notices that her movement reads as 'busy' even though the choreography is simple. Which analysis is most useful?

  1. She is adding unintended extra movement and should clarify her intention. Correct answer.
  2. She needs to perform the phrase faster to match the music.
  3. She should avoid making eye contact with the audience.
  4. She should add more gestures to fill the space.

Explanation

When simple choreography reads as busy, the performer is usually adding unintended movement that muddies intention. Clarifying the movement's purpose and removing extraneous action is the appropriate correction; speed, added gestures or gaze avoidance would not address it.

Question 43Dance

Which pairing correctly matches a dance genre with a characteristic feature?

  1. Flamenco - turned-out legs and pointe work
  2. Kathak - intricate footwork with ankle bells and spins Correct answer.
  3. Hip hop - codified arm positions and a strict syllabus
  4. Ballet - percussive footwork driven by live drumming

Explanation

Kathak is characterised by intricate rhythmic footwork, ankle bells (ghungroo) and spins. Ballet is associated with turnout and pointe work, flamenco with percussive footwork and guitar, and hip hop with social and freestyle foundations rather than a codified syllabus.

Question 44Dance

In a dance work, a dancer repeatedly reaches toward an empty chair that is never occupied. Which analytical reading is most defensible?

  1. The chair proves the work is autobiographical.
  2. The prop can function as a symbol of absence or longing within the work. Correct answer.
  3. The chair is certainly a staging error that should be removed.
  4. Props in dance can never carry meaning.

Explanation

Props can operate symbolically, and an unoccupied chair repeatedly reached for supports a reading of absence or longing. It is not automatically an error, props can carry meaning, and symbolism does not establish autobiography.

Question 45Dance

A dancer is asked to perform a phrase 'in retrograde'. What is she being asked to do?

  1. Perform the phrase twice as fast
  2. Perform the phrase with a different quality
  3. Perform the phrase facing upstage
  4. Perform the phrase in reverse order Correct answer.

Explanation

Retrograde means reversing the order of the movement, so the phrase runs backwards from its final action to its first. It does not change tempo, quality or facing.

Question 46Dance

A choreographer wants to create an 'accumulation' in a group phrase. Which approach best achieves this?

  1. Each dancer performs a different phrase simultaneously.
  2. The whole group performs the phrase in exact unison throughout.
  3. Each dancer adds one new movement each time the phrase returns. Correct answer.
  4. The phrase is performed once and never repeated.

Explanation

Accumulation builds a phrase by adding one new movement with each repetition, so the sequence grows progressively. Different simultaneous phrases create counterpoint, unison removes the additive structure, and a single performance removes repetition altogether.

Question 47Dance

Which statement best explains why a choreographer might use a 'site-specific' work to challenge audience expectations?

  1. Because the unfamiliar location changes how the audience moves and perceives the work Correct answer.
  2. Because site-specific works always use classical music
  3. Because the audience is always larger than in a theatre
  4. Because the audience must remain seated throughout

Explanation

Site-specific work places the audience in an unfamiliar environment, altering sightlines, movement and perception, which can challenge conventional expectations. It does not require seated audiences, classical music or larger crowds.

Question 48Dance

A dancer preparing for a demanding season is advised to include 'cross-training'. Which example best illustrates this?

  1. Arriving early to warm up before class
  2. Watching recordings of the company's past performances
  3. Repeating the same choreography until it is memorised
  4. Adding strength and conditioning sessions alongside dance classes Correct answer.

Explanation

Cross-training supplements dance-specific practice with complementary conditioning, such as strength, Pilates or cardiovascular work, to support performance and reduce injury risk. Memorising choreography, watching recordings and warming up are useful but are not cross-training.

Question 49Dance

A work uses a solo dancer who gradually mirrors the movements of a filmed version of herself projected behind her. Which analysis best captures the effect?

  1. The doubling can explore identity, memory or the relationship between live and mediated presence. Correct answer.
  2. The projection is purely decorative and has no relationship to the movement.
  3. The dancer is performing a duet with a live partner.
  4. The film must be a rehearsal recording that was left in by mistake.

Explanation

A live performer mirroring a filmed self creates doubling that can be read as an exploration of identity, memory or the tension between live and mediated presence. It is not merely decorative, not necessarily an error, and not a live duet.

Question 50Dance

Which statement best describes the role of a 'dance critic' in the ecology of dance?

  1. To rehearse the company before opening night
  2. To analyse and evaluate works for a public readership Correct answer.
  3. To design the lighting states for a production
  4. To fund the creation of new works

Explanation

A critic writes analysis and evaluation for a public readership, contributing to public discourse about dance. Rehearsing, lighting design and funding are the work of other roles.