choreologisttorépétiteur
A choreologist already meets 33% of what the répétiteur role asks for. The move turns on 19 required skills not yet in the profile.
33%
73.3/ 100
1 Share of the répétiteur role’s weighted skill requirement already met by the choreologist profile. Required skills count in full, supplementary skills at 0.35. Directional: the figure for the reverse move differs. 2 Combines what is missing with how specialised it is, so a gap of general skills scores easier than the same number of narrow ones.
Why this move works
A répétiteur role treats 9 of its required skills as things a choreologist already does. These are the ones it depends on most.
- analyse music score
- create a work environment where performers can develop their potential
- identify performers' needs
- intellectual property law
- labour legislation
- maintain safe working conditions in performing arts
What stands in the way is 19 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 14 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 choreologist background worth leading with.
- 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
- already held stimulate performers' imagination management skills
- already held create a work environment where performers can develop their potential management skills
- already held develop codified movements communication, collaboration and creativity
All 14 carried skills, including the 9 the répétiteur role treats as required.
Table 3 · What you would need to learn
The 27 missing skills fall into 6 areas of the ESCO skill hierarchy, numbered below in the order worth working in: the areas carrying the most required skills come first, and inside each one the required skills sit above the supplementary ones.
- required, not held select music for training required
- required, not held self-promote required
- required, not held participate in music studio recordings required
- required, not held play musical instruments required
- required, not held prepare rehearsals required
- required, not held read musical score required
- required, not held transpose music required
- required, not held work with an artistic team required
- required, not held write musical scores required
- required, not held develop a coaching style required
- required, not held manage feedback required
- optional, not held analyse a script optional
- 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 prompt performers optional
- optional, not held record music optional
- required, not held guide performers' training sessions required
- required, not held analyse own performance required
- required, not held manage personal professional development required
- required, not held music literature required
- required, not held musical theory required
- required, not held perform musical improvisations in therapy required
- required, not held subject of music coaching required
- required, not held study music 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 skill · occupation specific
- 02 self-promote skill · occupation specific
- 03 guide performers' training sessions skill · sector specific
Each entry opens a course search for that skill. Career Overlap earns nothing from these links.
Appendix · The rest of the record
All 14 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 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 stimulate performers' imagination skill
- already held work with broad variety of personalities skill
- already held create choreographic material skill
- already held develop codified movements skill
- already held manage artistic project skill
- already held show intercultural awareness skill
- already held work in an international environment skill
8 supplementary skills, helpful but not required
- optional, not held analyse a script optional
- 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 prompt performers optional
- optional, not held record music optional
27 held skills the répétiteur role does not ask for
- not needed by the target role act as a resource person in dance skill
- not needed by the target role art-historical values knowledge
- not needed by the target role be a role model in community arts skill
- not needed by the target role body language knowledge
- not needed by the target role clarify how various components work together skill
- not needed by the target role contribute to an artistic approach skill
- not needed by the target role contribute to the choreographer's process of reflection skill
- not needed by the target role create new fight sequences skill
- not needed by the target role demonstrate specialisation in a dance tradition skill
- not needed by the target role describe artistic experience 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 draw up choreography skill
- not needed by the target role evaluate art quality skill
- not needed by the target role inspire enthusiasm for dance skill
- not needed by the target role interpret artistic intentions skill
- not needed by the target role log changes in choreography skill
- not needed by the target role match needs of target community with your skills skill
- not needed by the target role monitor art scene developments skill
- not needed by the target role notate different dances skill
- not needed by the target role study community as a target community skill
- not needed by the target role teach dance 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 work with respect for own safety skill
3 gaps that are knowledge rather than practice
Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.
- required, not held music literature required
- required, not held musical theory required
- required, not held subject of music coaching required
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.