Fight director to dance répétiteur
A fight director already meets 23% of what the dance répétiteur role asks for. The move turns on 23 required skills not yet in the profile.
83/ 100
1 How much of what a dance répétiteur is expected to do is already part of a fight director’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 7 of its required skills as things a fight director already does. You would walk in with these on day one.
- create new fight sequences
- intellectual property law
- labour legislation
- manage artistic career
- manage personal professional development
- prepare performance training session
What stands in the way is 23 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 11 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 fight director background worth leading with.
- 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 analyse your fight discipline expertise management skills
- already held manage artistic career communication, collaboration and creativity
- already held work in an international environment communication, collaboration and creativity
All 11 carried skills, including the 7 the dance répétiteur role treats as required.
Table 3 · What you may need to learn
The 39 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 describe artistic experience required
- still to learn develop an artistic framework required
- still to learn develop the physical language required
- still to learn identify performers' needs required
- still to learn prepare rehearsals required
- still to learn represent artistic production required
- still to learn train artists in flying required
- still to learn understand the emotional dimension of a performance required
- still to learn develop a coaching style required
- still to learn work with broad variety of personalities required
- optional, not held analyse a script optional
- optional, not held create choreographic material optional
- optional, not held develop codified movements optional
- optional, not held develop proposed choreographic language optional
- optional, not held follow time cues optional
- optional, not held perform dances optional
- optional, not held prompt performers optional
- optional, not held teach dance optional
- optional, not held understand the architecture of a live performance optional
- optional, not held understand the conceptual dimension of a live performance optional
- optional, not held understand the physical language of a live performance optional
- still to learn help set performance schedule required
- still to learn participate in technical aspects of the production required
- still to learn create a work environment where performers can develop their potential required
- still to learn guide performers' training sessions required
- still to learn help set rehearsal schedule required
- still to learn rehearse artist fly movements required
- optional, not held develop methods for choreographic integration optional
- optional, not held inspire enthusiasm for dance optional
- optional, not held stimulate performers' imagination optional
- still to learn maintain safe working conditions in performing arts required
- still to learn test artist flying systems required
- optional, not held analyse music score optional
- 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 11 skills that carry over
- 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 prepare performance training session skill
- already held work with respect for own safety skill
- already held analyse your fight discipline expertise skill
- already held manage artistic project skill
- already held read dance scores skill
- already held work in an international environment skill
16 supplementary skills, helpful but not required
- optional, not held analyse a script optional
- optional, not held analyse music score optional
- optional, not held create choreographic material optional
- optional, not held develop codified movements optional
- optional, not held develop methods for choreographic integration optional
- optional, not held develop proposed choreographic language optional
- optional, not held follow time cues optional
- optional, not held inspire enthusiasm for dance optional
- optional, not held perform dances optional
- optional, not held prompt performers optional
- optional, not held read scripts optional
- optional, not held stimulate performers' imagination optional
- optional, not held teach dance optional
- optional, not held understand the architecture of a live performance optional
- optional, not held understand the conceptual dimension of a live performance optional
- optional, not held understand the physical language of a live performance optional
18 held skills the dance répétiteur role does not ask for
- not needed by the target role adapt fighting techniques for performance skill
- not needed by the target role adjust the work to the venue skill
- not needed by the target role coach performers in your fight discipline skill
- not needed by the target role communicate expectations of fight actions skill
- not needed by the target role define an approach to your fight dicipline skill
- not needed by the target role develop strategy to solve problems skill
- not needed by the target role engage in fencing skill
- not needed by the target role ensure the longevity of the fight actions skill
- not needed by the target role memorise lines skill
- not needed by the target role monitor art scene developments skill
- not needed by the target role perform risk assessment for fight actions skill
- not needed by the target role performing arts fights legal regulations knowledge
- not needed by the target role read musical score skill
- not needed by the target role show intercultural awareness skill
- not needed by the target role supervise performers' fights skill
- not needed by the target role use personal protection equipment skill
- not needed by the target role work ergonomically skill
- not needed by the target role write risk assessment on performing arts production 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 fight director become a dance répétiteur?
Yes, and it is a career change move. A fight director already covers 23% of what a dance répétiteur is expected to do: 11 skills carry over, 7 of which the dance répétiteur role treats as required.
What skills does a fight director need to become a dance répétiteur?
23 required skills are missing, plus 16 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 fight director to dance répétiteur?
Its learning distance is 83 out of 100, which is the career change 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.