Unit of competency details

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CUADAN605A

This version first released with CUA11 Live Performance Training Package version 1.0

Element 

Performance Criteria 

Elements describe the essential outcomes of a unit of competency.

Performance criteria describe the performance needed to demonstrate achievement of the element. Where bold italicised text is used, further information is detailed in the required skills and knowledge section and the range statement. Assessment of performance is to be consistent with the evidence guide.

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  teaching methods 

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  and quality of movement  

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  across  ballet styles and genres  through partnering techniques

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

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.

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  may include:

• 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  may include:

• 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  may include:

• 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  may include:

• visualisations
• affirmations
• relaxation techniques
• mental rehearsal
• maintaining a work-life balance.

Professional work ethic  may refer to:

• 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.