Dance répétiteur to répétiteur
A dance répétiteur already meets 49% of what the répétiteur role asks for. The move turns on 14 required skills not yet in the profile.
60/ 100
1 How much of what a répétiteur is expected to do is already part of a dance répétiteur’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 répétiteur role is recorded as needing, required and optional together. What these numbers mean.
Why this move works
A répétiteur role treats 14 of its required skills as things a dance répétiteur already does. You would walk in with these on day one.
- analyse music score
- create a work environment where performers can develop their potential
- develop a coaching style
- guide performers' training sessions
- identify performers' needs
- intellectual property law
What stands in the way is 14 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 20 skills that carry over, these are the ones fewest other occupations ask for. A répétiteur role needs them, and most people applying for one will not have them already. This is the part of a dance répétiteur background worth leading with.
- already held guide performers' training sessions management skills
- already held prepare rehearsals communication, collaboration and creativity
- already held prompt performers communication, collaboration and creativity
- already held work with broad variety of personalities communication, collaboration and creativity
- already held identify performers' needs communication, collaboration and creativity
- already held create choreographic material communication, collaboration and creativity
All 20 carried skills, including the 14 the répétiteur role treats as required.
Table 3 · What you may need to learn
The 21 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 select music for training required
- still to learn self-promote required
- still to learn participate in music studio recordings required
- still to learn play musical instruments required
- still to learn read musical score required
- still to learn transpose music required
- still to learn work with an artistic team required
- still to learn write musical scores required
- still to learn manage feedback required
- optional, not held develop drama production process optional
- optional, not held identify requirements of the work in the artistic performance optional
- optional, not held manage prompt book optional
- optional, not held perform music in ensemble optional
- optional, not held perform music solo optional
- optional, not held record music optional
- optional, not held show intercultural awareness optional
- still to learn music literature required
- still to learn musical theory required
- still to learn perform musical improvisations in therapy required
- still to learn study music required
- still to learn analyse own performance required
Table 4 · Where to start
The 3 entries a répétiteur role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 select music for training practise this
- 02 self-promote practise this
- 03 music literature study this
Each entry opens a course search for that skill. Career Overlap earns nothing from these links.
Appendix · The rest of the record
All 20 skills that carry over
- already held analyse music score skill
- already held create a work environment where performers can develop their potential skill
- already held develop a coaching style skill
- already held guide performers' training sessions 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 rehearsals skill
- already held stimulate performers' imagination skill
- already held subject of music coaching knowledge
- already held work with broad variety of personalities skill
- already held analyse a script skill
- already held create choreographic material skill
- already held develop codified movements skill
- already held manage artistic project skill
- already held prompt performers skill
- already held work in an international environment skill
7 supplementary skills, helpful but not required
- optional, not held develop drama production process optional
- optional, not held identify requirements of the work in the artistic performance optional
- optional, not held manage prompt book optional
- optional, not held perform music in ensemble optional
- optional, not held perform music solo optional
- optional, not held record music optional
- optional, not held show intercultural awareness optional
30 held skills the répétiteur role does not ask for
- not needed by the target role analyse your fight discipline expertise skill
- not needed by the target role contribute to the choreographer's process of reflection skill
- not needed by the target role contribute to the development of a creative choreography skill
- not needed by the target role create new fight sequences skill
- not needed by the target role describe artistic experience skill
- not needed by the target role develop an artistic framework 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 follow time cues skill
- not needed by the target role help document artistic work at all stages skill
- not needed by the target role help set performance schedule skill
- not needed by the target role help set rehearsal schedule skill
- not needed by the target role inspire enthusiasm for dance skill
- not needed by the target role link between dance and music style knowledge
- not needed by the target role participate in technical aspects of the production skill
- not needed by the target role perform dances skill
- not needed by the target role prepare performance training session skill
- not needed by the target role read dance scores skill
- not needed by the target role read scripts skill
- not needed by the target role rehearse artist fly movements skill
- not needed by the target role represent artistic production skill
- not needed by the target role teach dance skill
- not needed by the target role test artist flying systems 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 respect for own safety 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 music literature required
- still to learn musical theory required
Other moves recorded from dance répétiteur
Common questions about this move
Can a dance répétiteur become a répétiteur?
Yes, and it is a substantial move. A dance répétiteur already covers 49% of what a répétiteur is expected to do: 20 skills carry over, 14 of which the répétiteur role treats as required.
What skills does a dance répétiteur need to become a répétiteur?
14 required skills are missing, plus 7 optional ones. They fall into 5 areas of the ESCO skill hierarchy, led by communication, collaboration and creativity. The single most important is select music for training.
How hard is the move from dance répétiteur to répétiteur?
Its learning distance is 60 out of 100, which is the substantial 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.