This unit applies to dancers who are moving towards professional careers in contexts where complex ballet technique and versatility are required for performing as members of a professional dance company. They may be part of an ensemble or a soloist dancer who has been chosen to perform a pas de deux applying advanced partnering technique.
At this level, dancers are constantly refining their technique and perfecting their artistry across complex ballet repertoire, including the ability to work with a variety of partners effectively and convincingly.
While some supervision and guidance are provided in practice sessions and rehearsals, dancers are expected to display a high level of motivation and sense of responsibility for themselves and their partner during practice sessions, rehearsals and live performances.
Not applicable.
1. Prepare for pas de deux with partner | 1.1. Research and analyse chosen pas de deux work 1.2. Cooperate, show consideration and develop rapport with partner during the rehearsal process and seamlessly adjust to a change of partner when required 1.3. Practise timing and weight centring in accomplishing adage, pirouettes, promenades and lifts with partner 1.4. Rehearse complex lifts and counterbalances with grace, balance and control 1.5. Exhibit a professional level of physical learning and adaptability to incorporate unseen combinations across different 1.6. Demonstrate through ongoing technical strength, diversity and refinement, evidence of advanced self-correction and concentrated response to feedback 1.7. Display correct technical requirements of pas de deux |
2. Execute pas de deux in professional level performances | 2.1. Demonstrate complex performance attributes 2.2. Show strength, precision and complexity in all aspects of footwork, including pointe work as required 2.3. Sense when female dancer needs to leave a balance, or needs to be steadied, and be there to offer support (male only) 2.4. In supported pirouettes or finger turns, sense how many turns to do, matching it to partner, and instinctively phrase the choreography with the music 2.5. Apply the flexibility, sense of line and clear positions essential to the form 2.6. Emulate the style and intention of pas de deux repertoire |
3. Apply technique in professional level performances | 3.1. Undertake preparations appropriate to performance contexts 3.2. Ensure that personal presentation is appropriate to performance contexts 3.3. Apply performance psychology techniques to preparations 3.4. Rehearse performances repeatedly until perfected 3.5. Sustain focus and concentration to produce performances that show artistry, rhythm and musicality and convey the story and mood of the dance 3.6. Convey choreographic intent of dances through confident and precise execution of ballet dance techniques 3.7. Contribute to debriefing sessions to evaluate the quality of performances and to discuss ways of improving individual or partnering technique |
4. Develop professional practice | 4.1. Develop and refine professional work ethic 4.2. Develop realistic parameters as a basis for extending scope of performance practice 4.3. Identify regimes and artistic strategies that will refine own performance technique |
Required skills
communication skills to:
work collaboratively as part of partnership
demonstrate cooperation, consideration and develop rapport with partner
respond appropriately to feedback on own skill development and performance
consult with peers and mentors, including interpersonal skills relating to listening, questioning, gaining feedback and giving information
initiative and enterprise skills to:
work creatively with music and dance
dance with artistry and assurance
communicate mood, style and grace through dance
learning skills to:
perfect classical ballet and pas de deux techniques through:
practising complex movements and sequences repeatedly with partner
a positive attitude to dancing
excel at a personal physical conditioning program
planning and organising skills to:
research and analyse pas de deux from classical and contemporary ballets
prepare for performances, auditions and competitions
plan practice time
self-management skills to:
arrive punctually at classes, rehearsals and performances
dress appropriately
observe dance discipline and follow direction
apply safe dance practices and identify risk factors
demonstrate professional work ethic
teamwork skills to work collaboratively with partner in dance classes and performances
technical dance skills to:
execute high level of technical and performance skills in a partnership situation
employ physical control throughout performances, including pas de deux
demonstrate timing and weight centring techniques with partner, applying them to lifts and counterbalances
demonstrate a high level of spatial awareness in partnering, including floor patterns and aerial pathways
sense needs of partner and adapt appropriately
emulate the style and intention of pas de deux repertoire through partnering techniques.
Required knowledge
specialised knowledge of pas de deux repertoire and performances
principles underlying dance movements and techniques, such as:
relationship with gravity
spatial awareness
successional movement
use of breath
folding
extending
rotating
shifting weight
anatomical foundations, including:
articulation of the spine
engagement of the feet
bases of support, including feet, legs, hands, arms and torso
range of motion of the joints
differentiation of the legs and pelvis
risk factors in partnering techniques
performance contexts, including staging and personal presentation.
The evidence guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.
Overview of assessment | |
Critical aspects for assessment and evidence required to demonstrate competency in this unit | Evidence of the ability to: execute physical and conceptual understanding of the fundamental technical principles in classical ballet as they relate to pas de deux demonstrate advanced partnering skills, including travelling steps, supported adagio and pirouettes and lifts to the professional level synchronise instinctively in a duo situation work with a partner harmoniously and with rapport and confidence apply professional practice. |
Context of and specific resources for assessment | Assessment must ensure access to: fully equipped dance studios appropriate music or accompanists. |
Method of assessment | A range of assessment methods should be used to assess practical skills and knowledge. The following examples are appropriate for this unit: observation of practice and performance through full practical demonstration verbal or written questioning to test knowledge as listed in the required skills and knowledge section of this unit video recordings of performances or practice sessions case studies and scenarios as a basis for discussing components of classical ballet technique, repertoire and performance and partnering skills as they relate to pas de deux. Assessment methods should closely reflect workplace demands (e.g. literacy) and the needs of particular groups (e.g. people with disabilities and people who may have literacy or numeracy difficulties, such as speakers of languages other than English, remote communities and those with interrupted schooling). |
Guidance information for assessment | Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example: CUADAN603A Extend ballet technique to a professional level CUADAN604A Extend ballet performance skills to a professional level CUAIND601A Work professionally in the creative arts industry. |
The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.
Pas de deux works may include: | Sleeping Beauty Act 3 Don Quixote Act 3 (Nureyev) La Fille Mal Gardée (combination of Act 2 and 3 pas de deux) Flower Festival of Genzano Sylvia Le Corsaire Flames of Paris Tchaikovsky pas de deux Nutcracker Act 2 Coppelia Act 3 (Van Praagh) Esmerelda (Garth Welch) Giselle Act 1 (Van Praagh) Blue Bird pas de deux: Sleeping Beauty Act 3 Peasant pas de deux: Giselle Act 1 newly created choreography. |
Physical learning and adaptability may include: | set exercises or sequences unseen exercises or sequences sequences from a range of techniques, such as: Royal Academy of Dance (RAD) Cecchetti Vaganova French Balanchine execution of extended sequences to right and left sides without prompting self-correction. |
Teaching methods may include: | Russian French Cecchetti RAD. |
Technical requirements may include: | placement and coordination of body parts strength and stability posture hand grips and hand placement for balance relationship between partners. |
Performance attributes | strength, flexibility, coordination and cardiovascular endurance detailed musicality with attention to nuances of interpretation movement qualities to movement sequences strong sense of individuality and 'presence' in the execution of sequences sensibility in sequences of increasing difficulty alternative and structurally changing musical time signatures and phrasing for extended sequences different expressive qualities applied to movement sequences extensive and changing expressive qualities applied to movement sequences assured artistic interpretations of sequences and variations. |
Footwork | sequences executed at the barre and in the centre multiple turns in adage and travelling configurations sequences specific to the professional female repertoire enchaînements that require the full range of movement executed on and off pointe in all directions of the dance. |
Repertoire may include: | romantic classical modern ballet original choreography. |
Ballet styles and genres may include: | contemporary ballet modern ballet neoclassical ballet-masquerade ballet-melodramatique romantic imperial. |
Preparations | familiarisation with performance environment (space, location, size) and audience preparation of space to ensure safety of self and others mental preparation immediate physical preparation rehearsal appropriate to audience awareness of time lines leading up to and immediately before performance props costumes or clothing make-up equipment appropriate footwear scores sheet music tapes competitions and auditions: rules judging criteria, including: general appearance costumes technique execution showmanship entertainment value (the ‘x’ factor) level of difficulty originality and creativity choreography synchronisation versatility. |
Performance contexts may include: | professional production solo ensemble corps de ballet audition competition. |
Personal presentation may include: | costumes accessories make-up hair posture way of moving. |
Performance psychology techniques | visualisations affirmations relaxation techniques mental rehearsal maintaining a work-life balance. |
Professional work ethic | attentive behaviour in creative practice awareness of: substance abuse addictive behaviours expectations of others eating disorders effective management of personal finances balanced diet energy levels and personal limitations stage and theatre etiquette developing strategies to: cope with performance anxiety maintain motivation effective personal hygiene habits, such as: clean and short nails clean and tied-up hair clean hands ongoing dedication to a physical conditioning exercise program maintaining concentration, focus and physical alertness in all performance activities maintaining costumes and other apparel maintaining a work-life balance punctuality and reliability working creatively with individual differences. |
Extending scope of performance practice may include: | working effectively with tutor or coach participating in professional development and other learning opportunities undertaking training courses practising systemically participating in relevant groups or associations experimenting with own performance communicating with peers being involved in a range of relevant performance activities viewing and reviewing relevant performance events and activities. |
Regimes and artistic strategies may include: | lectures seminars conferences symposiums master classes professional organisations practical workshops performance rehearsals individual training. |
Performing arts - dance
This unit contains employability skills.
No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.