Theatre Design & Technology - Summer 2007 - 54

terms of styles of dance and also in terms of the visual elements
like costumes and lighting.
However, even though theatre and dance have inherent
differences, and designers must understand those differences
and be prepared to adjust their thinking accordingly, I believe
the tools of design are constant. Line, shape/form, color, and
texture have the same properties and effects no matter what is
being designed. For me, the primary difference between theatre
design and dance design is how I treat the human form and its
relationship to movement.

Know the Music
In the beginning stages of the design process I like to treat
the score as if it were a script. I tend to learn a script almost to the point of memorization, so I will listen to the
music over and over becoming aware of each minute nuance in the orchestration.
I want to know the music so that I can "see" it. The
visualization of sound is imperative for me. I want the music to show me its line, its texture, and its colors before the
choreographer tells me how he or she has interpreted it. By
having a relationship with the music I feel that I have something to bring to the table in those first discussions.

The visualization of sound is imperative
for me. I want the music to show me its
line, its texture, and its colors before the
choreographer tells me how he or she has
interpreted it.
In most situations choreographers are not ready to
talk to a costume designer until they have worked out the
choreography and have begun rehearsing with the dancers.
This suits me well if I have done my homework and am
already familiar with the music. In the first discussions, it's
very rare that the choreographer wants to talk about the
music-the way a director, playwright, and designer will
talk about a script-because for the choreographer, the
music, while extremely important, serves a supporting role
to the movement.
It has been my experience that most choreographers
want to know immediately what you think, what you feel,
and what kind of ideas you have. Therefore, unless the style
of movement is in sharp contrast to the style of music, by
having done my musical analysis I will already have some
ideas about line and color and, as a result, a basis for discussion without feeling put on the spot.

Learn the Language
Choreographers and designers speak different languages. That
is why it is so important to devise a means of communication.
Identifying "points of inspiration" can be an effective way to
communicate. Choreographers tend to have abstract thoughts
that deal with space, shape and line. There is a constant occupation with the human body, its capabilities and its limitations.
As with all design communication, I find visual aids helpful.
However, experience tells me that realistic artwork does not
easily connect with choreographers, especially in non-story
dance. Abstract art that deals with color, proportion, line, and
space is always a good place to start, but often in the end, it
is more helpful to me than to the choreographer whose focus
will, most likely, remain on the very real human body.
I look for keys in what the choreographer says, and in how
the music manifests itself in movement. This might be as simple
as: Is the movement horizontal, vertical, or arching? Are there
circular or diagonal patterns being developed in the space? Or
as complex as: Do the bodies entwine in such a way as to create
a form other than their own? Does the body react psychologically or emotionally? Is the movement representational? These
keys open doors for me as I begin the actual designs.

How a Choreographer Works
I recently had the opportunity to discuss the process of creating dance with choreographer Michael Foley. He is a choreographer, dancer, and master teacher whose works have been
done by most major modern dance companies in the United
States. Internationally, Foley's works have been commissioned
by companies in Italy, France, the Netherlands, Germany, Sweden, Ireland, Northern Ireland, Mexico, Panama, and Cuba. In
1994 he formed his own company, Michael Foley Dance, which
reviewers for the New York Times called "exuberant" and
"hypnotic." Michael Foley Dance was based in Ireland from
2000 to 2002 as part of a multi-year collaboration with County
Kildare's "Fluxusdance," receiving support from the Irish Arts
Council. Foley currently is an assistant professor of dance at the
University of South Florida and continues to work globally.
BREWER: When you begin a new work, where do your
ideas come from?
FOLEY: I'm almost always inspired by musical choices, or
music that I've heard, or music that I'm investigating. I can
be in a particular mood where I'm listening to classical music, or I'm listening to music from India, or even listening to
popular music, and almost always music inspires movement
choices for me. But that only inspires things up to maybe establishing a mood, not usually a plot per se or some kind of
a narrative. If I'm working on a piece that's just going to be
about the movement, then picking movement choices, taking
big risks, movement-wise, more often than not comes from
a musical place fi rst.
B: After you've made musical decisions, where else do you
look for inspiration? Do you look to literature, art, personal
experience?
THEATRE

SUMMER

2007

DESIGN

&

TECHNOLOGY

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Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2007

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