Career Overlap Transition record Edition 1 · ESCO v1.2.1
Table 1Transition record

dance répétiteurtorépétiteur

A dance répétiteur already meets 49% of what the répétiteur role asks for. The move turns on 14 required skills not yet in the profile.

From dance répétiteur
49%
Overlap1
To répétiteur
20 Skills carried over
14 Required, not held
60 Difficulty2
Career overlap Partial match

49%

Learning distance Substantial retraining

60/ 100

1 Share of the répétiteur role’s weighted skill requirement already met by the dance répétiteur 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

Why this move works

A répétiteur role treats 14 of its required skills as things a dance répétiteur already does. These are the ones it depends on most.

  • analyse music score
  • create a work environment where performers can develop their potential
  • develop a coaching style
  • guide performers' training sessions
  • identify performers' needs
  • intellectual property law

What stands in the way is 14 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.

Table 2

Table 2 · What you already bring

Of the 20 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 dance répétiteur background worth leading with.

Skill the target role also needs Area
  • already held guide performers' training sessions management skills
  • already held prepare rehearsals communication, collaboration and creativity
  • already held prompt performers communication, collaboration and creativity
  • 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

All 20 carried skills, including the 14 the répétiteur role treats as required.

Table 3

Table 3 · What you would need to learn

The 21 missing skills fall into 5 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.

Skill to acquire Tier
01 communication, collaboration and creativity 9 required, 7 supplementary
  • 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 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 manage feedback required
  • 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 record music optional
  • optional, not held show intercultural awareness optional
02 arts and humanities 2 required
  • required, not held music literature required
  • required, not held musical theory required
03 assisting and caring 1 required
  • required, not held perform musical improvisations in therapy required
04 information skills 1 required
  • required, not held study music required
05 management skills 1 required
  • required, not held analyse own performance required
Table 4

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.

Each entry opens a course search for that skill. Career Overlap earns nothing from these links.

Appendix

Appendix · The rest of the record

All 20 skills that carry over
Skill Type
  • already held analyse music score skill
  • already held create a work environment where performers can develop their potential skill
  • already held develop a coaching style skill
  • already held guide performers' training sessions 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 manage personal professional development skill
  • already held prepare rehearsals skill
  • already held stimulate performers' imagination skill
  • already held subject of music coaching knowledge
  • already held work with broad variety of personalities skill
  • already held analyse a script skill
  • already held create choreographic material skill
  • already held develop codified movements skill
  • already held manage artistic project skill
  • already held prompt performers skill
  • already held work in an international environment skill
7 supplementary skills, helpful but not required
Skill to acquire Tier
  • 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 record music optional
  • optional, not held show intercultural awareness optional
30 held skills the répétiteur role does not ask for
Skill Type
  • not needed by the target role analyse your fight discipline expertise skill
  • not needed by the target role contribute to the choreographer's process of reflection skill
  • not needed by the target role contribute to the development of a creative choreography skill
  • not needed by the target role create new fight sequences skill
  • not needed by the target role describe artistic experience skill
  • not needed by the target role develop an artistic framework 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 follow time cues skill
  • not needed by the target role help document artistic work at all stages skill
  • not needed by the target role help set performance schedule skill
  • not needed by the target role help set rehearsal schedule skill
  • not needed by the target role inspire enthusiasm for dance skill
  • not needed by the target role link between dance and music style knowledge
  • not needed by the target role participate in technical aspects of the production skill
  • not needed by the target role perform dances skill
  • not needed by the target role prepare performance training session skill
  • not needed by the target role read dance scores skill
  • not needed by the target role read scripts skill
  • not needed by the target role rehearse artist fly movements skill
  • not needed by the target role represent artistic production skill
  • not needed by the target role teach dance skill
  • not needed by the target role test artist flying systems skill
  • not needed by the target role train artists in flying 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 understand the physical language of a live performance skill
  • not needed by the target role work with respect for own safety 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.

Skill to acquire Tier
  • required, not held music literature required
  • required, not held musical theory required
Index

Other moves recorded from dance répétiteur

Full index of moves from dance répétiteur

Note

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.