When developing Repertory Etudes, ADLI has identified 6 types:
These Repertory Etudes are based on works by mature choreographers—signature works of the repertoire that are at least 20 years old. These may be early works, but are identified as significant with the perspective of time.
These Repertory Etudes may be created by a choreographer (or representative) at any career point as a tool to share the elements of a specific style. Style RepEtudes are often created by young, mid-career choreographers to hone and identify their unique movement vocabulary.
These Repertory Etudes are created by dancers who were performers in the work of a master choreographer. They may or may not be based on a single work. They represent a particular dancer’s interpretation of the choreographer’s style. ADLI believes that the range of a choreographer’s style is best discerned through the multiple and diverse perspectives of dancers who have performed that choreographer’s work over time. A given choreographer could have several Repertory Etudes.
In some cases, the quintessential elements of a choreographer’s style are best understood through an excerpt of an existing work.
These Repertory Etudes are inspired by vernacular, ritual, or social dance and are adapted for performance. Their goal is to provide insight into the specific gestures, stances, musicality, and ideas behind them, not to reproduce them the way they would be enacted in their natural environment, be it the street, the dance hall, or the village.
These Repertory Etudes are designed to provide insight into a choreographer’s creative process. These RepEtudes are NOT about the dances that these choreographers created, but about the way in which they make dances.