Choreographer to dance répétiteur
A choreographer already meets 59% of what the dance répétiteur role asks for. The move turns on 13 required skills not yet in the profile.
54.3/ 100
1 How much of what a dance répétiteur is expected to do is already part of a choreographer’s work. Directional: the figure for the reverse move differs, because moving into a speciality is not the same problem as moving out of one. 2 Every skill the dance répétiteur role is recorded as needing, required and optional together. What these numbers mean.
Why this move works
A dance répétiteur role treats 17 of its required skills as things a choreographer already does. You would walk in with these on day one.
- create a work environment where performers can develop their potential
- create new fight sequences
- describe artistic experience
- develop an artistic framework
- develop the physical language
- identify performers' needs
What stands in the way is 13 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.
Table 2 · What you already bring
Of the 31 skills that carry over, these are the ones fewest other occupations ask for. A dance répétiteur role needs them, and most people applying for one will not have them already. This is the part of a choreographer background worth leading with.
- already held rehearse artist fly movements management skills
- already held train artists in flying communication, collaboration and creativity
- already held understand the physical language of a live performance communication, collaboration and creativity
- already held create new fight sequences communication, collaboration and creativity
- already held work with broad variety of personalities communication, collaboration and creativity
- already held read dance scores communication, collaboration and creativity
All 31 carried skills, including the 17 the dance répétiteur role treats as required.
Table 3 · What you may need to learn
The 19 missing skills fall into 5 areas of the ESCO skill hierarchy, numbered in the order worth working in. Areas carrying the most required skills come first, and inside each one the required skills sit above the optional ones. Nothing here is a verdict on you: it is a list of what this particular job asks for that your current one does not.
- still to learn contribute to the development of a creative choreography required
- still to learn help document artistic work at all stages required
- still to learn contribute to the choreographer's process of reflection required
- still to learn prepare rehearsals required
- still to learn represent artistic production required
- still to learn develop a coaching style required
- optional, not held analyse a script optional
- optional, not held follow time cues optional
- optional, not held perform dances optional
- optional, not held prompt performers optional
- still to learn help set performance schedule required
- still to learn participate in technical aspects of the production required
- still to learn guide performers' training sessions required
- still to learn help set rehearsal schedule required
- optional, not held analyse your fight discipline expertise optional
- still to learn test artist flying systems required
- optional, not held read scripts optional
- still to learn link between dance and music style required
- still to learn subject of music coaching required
Table 4 · Where to start
The 3 entries a dance répétiteur role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 contribute to the development of a creative choreography practise this
- 02 help document artistic work at all stages practise this
- 03 help set performance schedule practise this
Each entry opens a course search for that skill. Career Overlap earns nothing from these links.
Appendix · The rest of the record
All 31 skills that carry over
- already held create a work environment where performers can develop their potential skill
- already held create new fight sequences skill
- already held describe artistic experience skill
- already held develop an artistic framework skill
- already held develop the physical language skill
- already held identify performers' needs skill
- already held intellectual property law knowledge
- already held labour legislation knowledge
- already held maintain safe working conditions in performing arts skill
- already held manage artistic career skill
- already held manage personal professional development skill
- already held prepare performance training session skill
- already held rehearse artist fly movements skill
- already held train artists in flying skill
- already held understand the emotional dimension of a performance skill
- already held work with broad variety of personalities skill
- already held work with respect for own safety skill
- already held analyse music score skill
- already held create choreographic material skill
- already held develop codified movements skill
- already held develop methods for choreographic integration skill
- already held develop proposed choreographic language skill
- already held inspire enthusiasm for dance skill
- already held manage artistic project skill
- already held read dance scores skill
- already held stimulate performers' imagination skill
- already held teach dance skill
- already held understand the architecture of a live performance skill
- already held understand the conceptual dimension of a live performance skill
- already held understand the physical language of a live performance skill
- already held work in an international environment skill
6 supplementary skills, helpful but not required
- optional, not held analyse a script optional
- optional, not held analyse your fight discipline expertise optional
- optional, not held follow time cues optional
- optional, not held perform dances optional
- optional, not held prompt performers optional
- optional, not held read scripts optional
18 held skills the dance répétiteur role does not ask for
- not needed by the target role art-historical values knowledge
- not needed by the target role assemble an artistic team skill
- not needed by the target role be a role model in community arts skill
- not needed by the target role correct potentially harmful movements skill
- not needed by the target role define artistic approach skill
- not needed by the target role demonstrate specialisation in a dance tradition skill
- not needed by the target role demonstrate technical expertise of your dance style skill
- not needed by the target role design flying movements skill
- not needed by the target role develop a choreographic language skill
- not needed by the target role develop a choreographic work skill
- not needed by the target role ensure longevity of choreography skill
- not needed by the target role identify requirements of the work in the artistic performance skill
- not needed by the target role match needs of target community with your skills skill
- not needed by the target role monitor art scene developments skill
- not needed by the target role notate different dances skill
- not needed by the target role practise flying movements skill
- not needed by the target role select music for performance skill
- not needed by the target role show intercultural awareness skill
2 gaps that are knowledge rather than practice
Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.
- still to learn link between dance and music style required
- still to learn subject of music coaching required
Common questions about this move
Can a choreographer become a dance répétiteur?
Yes, and it is a moderate move. A choreographer already covers 59% of what a dance répétiteur is expected to do: 31 skills carry over, 17 of which the dance répétiteur role treats as required.
What skills does a choreographer need to become a dance répétiteur?
13 required skills are missing, plus 6 optional ones. They fall into 5 areas of the ESCO skill hierarchy, led by communication, collaboration and creativity. The single most important is contribute to the development of a creative choreography.
How hard is the move from choreographer to dance répétiteur?
Its learning distance is 54.3 out of 100, which is the moderate band. That accounts for both how much is missing and how specialised those skills are.
How this record was compiled
Both occupations are taken from ESCO, which lists the skills and knowledge each occupation is expected to have and marks every one required or optional. Nothing here is a prediction about hiring, and nothing here knows that a particular employer wants a particular certificate. Treat Table 3 as a starting point for your own research rather than a syllabus. The full method states what these figures can and cannot tell you.