Choreography In Operetta Performances – Case Study: The Cabaret Show In Die Csárdásfürstin (Sylva Or The Csárdás Princess), Act I, Production By Emmerich Kalman

The choreographic parts in operetta performances must be adapted to the performer's artistic capacity and needs. In the case of singers, the dance steps and sequences come to complement the singing towards achieving an engaging expressive behaviour; the choreographic moments allow them to expand their performance beyond just vocal delivery, turning them into a more dynamic presence on stage – one that embodies both the music and the drama through movement. I have chosen to address the beginning of Emmerich Kalman's Sylva, which depicts the character's entrance for her final performance as a cabaret singer. It is a moment covered by Act I of the production staged at Brasov Opera House, in 2012, by director Anda Tăbăcaru Hogea, choreographed by Dorin Coşeriu and acted out by soprano Andreea Blidariu. The research method we use analyses the scenic behaviour of the performer embodying Emmerich Kalman's Sylva, followed by a biomechanical and aesthetic analysis of her interpretation. In order to create an effective choreographic moment in an operetta, the performer must posses advanced motor skills that allow them to accurately execute complex dance-specific movements. Choreography may be viewed as the fruit of the creative journey shared by the choreographer and the performers. Guided by the director's vision and shaped by their own personal expressions, they work together to develop movements and structures that align with the specific demands of the production towards achieving a flawless creative behaviour.