Career Overlap Transition record Edition 1 · ESCO v1.2.1
Table 1Transition record

choreographertofight director

A choreographer already meets 41% of what the fight director role asks for. The move turns on 12 required skills not yet in the profile.

From choreographer
41%
Overlap1
To fight director
12 Skills carried over
12 Required, not held
64.7 Difficulty2
Career overlap Partial match

41%

Learning distance Substantial retraining

64.7/ 100

1 Share of the fight director role’s weighted skill requirement already met by the choreographer profile. Required skills count in full, supplementary skills at 0.35. Directional: the figure for the reverse move differs. 2 Combines what is missing with how specialised it is, so a gap of general skills scores easier than the same number of narrow ones.

Why

Why this move works

A fight director role treats 8 of its required skills as things a choreographer already does. These are the ones it depends on most.

  • create new fight sequences
  • intellectual property law
  • labour legislation
  • manage artistic career
  • manage personal professional development
  • monitor art scene developments

What stands in the way is 12 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.

Table 2

Table 2 · What you already bring

Of the 12 skills that carry over, these are the ones fewest other occupations ask for. A fight director 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.

Skill the target role also needs Area
  • already held create new fight sequences communication, collaboration and creativity
  • already held read dance scores communication, collaboration and creativity
  • already held prepare performance training session communication, collaboration and creativity
  • already held monitor art scene developments information skills
  • already held manage artistic career communication, collaboration and creativity
  • already held work in an international environment communication, collaboration and creativity

All 12 carried skills, including the 8 the fight director role treats as required.

Table 3

Table 3 · What you would need to learn

The 17 missing skills fall into 5 areas of the ESCO skill hierarchy, numbered below in the order worth working in: the areas carrying the most required skills come first, and inside each one the required skills sit above the supplementary ones.

Skill to acquire Tier
01 communication, collaboration and creativity 6 required, 3 supplementary
  • required, not held adjust the work to the venue required
  • required, not held coach performers in your fight discipline required
  • required, not held define an approach to your fight dicipline required
  • required, not held ensure the longevity of the fight actions required
  • required, not held adapt fighting techniques for performance required
  • required, not held communicate expectations of fight actions required
  • optional, not held engage in fencing optional
  • optional, not held memorise lines optional
  • optional, not held read musical score optional
02 management skills 2 required, 1 supplementary
  • required, not held supervise performers' fights required
  • required, not held analyse your fight discipline expertise required
  • optional, not held develop strategy to solve problems optional
03 assisting and caring 2 required
  • required, not held use personal protection equipment required
  • required, not held work ergonomically required
04 information skills 1 required, 1 supplementary
  • required, not held perform risk assessment for fight actions required
  • optional, not held write risk assessment on performing arts production optional
05 business, administration and law 1 required
  • required, not held performing arts fights legal regulations required
Table 4

Table 4 · Where to start

The 3 entries a fight director role is least likely to hire without. The ordering is computed from the skill data, not from what pays.

Each entry opens a course search for that skill. Career Overlap earns nothing from these links.

Appendix

Appendix · The rest of the record

All 12 skills that carry over
Skill Type
  • already held create new fight sequences skill
  • already held intellectual property law knowledge
  • already held labour legislation knowledge
  • already held manage artistic career skill
  • already held manage personal professional development skill
  • already held monitor art scene developments skill
  • already held prepare performance training session skill
  • already held work with respect for own safety skill
  • already held manage artistic project skill
  • already held read dance scores skill
  • already held show intercultural awareness skill
  • already held work in an international environment skill
5 supplementary skills, helpful but not required
Skill to acquire Tier
  • optional, not held engage in fencing optional
  • optional, not held memorise lines optional
  • optional, not held read musical score optional
  • optional, not held write risk assessment on performing arts production optional
  • optional, not held develop strategy to solve problems optional
37 held skills the fight director role does not ask for
Skill Type
  • not needed by the target role analyse music score skill
  • 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 create a work environment where performers can develop their potential skill
  • not needed by the target role create choreographic material 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 describe artistic experience 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 develop an artistic framework skill
  • not needed by the target role develop codified movements skill
  • not needed by the target role develop methods for choreographic integration skill
  • not needed by the target role develop proposed choreographic language skill
  • not needed by the target role develop the physical language skill
  • not needed by the target role ensure longevity of choreography skill
  • not needed by the target role identify performers' needs skill
  • not needed by the target role identify requirements of the work in the artistic performance skill
  • not needed by the target role inspire enthusiasm for dance skill
  • not needed by the target role maintain safe working conditions in performing arts skill
  • not needed by the target role match needs of target community with your skills 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 rehearse artist fly movements skill
  • not needed by the target role select music for performance skill
  • not needed by the target role stimulate performers' imagination skill
  • not needed by the target role teach dance skill
  • not needed by the target role train artists in flying skill
  • not needed by the target role understand the architecture of a live performance skill
  • not needed by the target role understand the conceptual dimension of a live performance skill
  • not needed by the target role understand the emotional dimension of a performance skill
  • not needed by the target role understand the physical language of a live performance skill
  • not needed by the target role work with broad variety of personalities skill
1 gaps that are knowledge rather than practice

Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.

Skill to acquire Tier
  • required, not held performing arts fights legal regulations required
Index

Other moves recorded from choreographer

Full index of moves from choreographer

Note

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.