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

fight directortodance répétiteur

A fight director already meets 23% of what the dance répétiteur role asks for. The move turns on 23 required skills not yet in the profile.

From fight director
23%
Overlap1
To dance répétiteur
11 Skills carried over
23 Required, not held
83 Difficulty2
Career overlap Distant match

23%

Learning distance A rebuild

83/ 100

1 Share of the dance répétiteur role’s weighted skill requirement already met by the fight director 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 dance répétiteur role treats 7 of its required skills as things a fight director already does. These are the ones it depends on most.

  • create new fight sequences
  • intellectual property law
  • labour legislation
  • manage artistic career
  • manage personal professional development
  • prepare performance training session

What stands in the way is 23 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 11 skills that carry over, these are the ones fewest other occupations ask for. A dance répétiteur role needs them, and most people applying for one will not have them already. This is the part of a fight director background worth leading with.

Skill the target role also needs Area
  • already held create new fight sequences communication, collaboration and creativity
  • already held read dance scores communication, collaboration and creativity
  • already held prepare performance training session communication, collaboration and creativity
  • already held analyse your fight discipline expertise management skills
  • already held manage artistic career communication, collaboration and creativity
  • already held work in an international environment communication, collaboration and creativity

All 11 carried skills, including the 7 the dance répétiteur role treats as required.

Table 3

Table 3 · What you would need to learn

The 39 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 13 required, 11 supplementary
  • required, not held contribute to the development of a creative choreography required
  • required, not held help document artistic work at all stages required
  • required, not held contribute to the choreographer's process of reflection required
  • required, not held describe artistic experience required
  • required, not held develop an artistic framework required
  • required, not held develop the physical language required
  • required, not held identify performers' needs required
  • required, not held prepare rehearsals required
  • required, not held represent artistic production required
  • required, not held train artists in flying required
  • required, not held understand the emotional dimension of a performance required
  • required, not held develop a coaching style required
  • required, not held work with broad variety of personalities required
  • optional, not held analyse a script optional
  • optional, not held create choreographic material optional
  • optional, not held develop codified movements optional
  • optional, not held develop proposed choreographic language optional
  • optional, not held follow time cues optional
  • optional, not held perform dances optional
  • optional, not held prompt performers optional
  • optional, not held teach dance optional
  • optional, not held understand the architecture of a live performance optional
  • optional, not held understand the conceptual dimension of a live performance optional
  • optional, not held understand the physical language of a live performance optional
02 management skills 6 required, 3 supplementary
  • required, not held help set performance schedule required
  • required, not held participate in technical aspects of the production required
  • required, not held create a work environment where performers can develop their potential required
  • required, not held guide performers' training sessions required
  • required, not held help set rehearsal schedule required
  • required, not held rehearse artist fly movements required
  • optional, not held develop methods for choreographic integration optional
  • optional, not held inspire enthusiasm for dance optional
  • optional, not held stimulate performers' imagination optional
03 information skills 2 required, 2 supplementary
  • required, not held maintain safe working conditions in performing arts required
  • required, not held test artist flying systems required
  • optional, not held analyse music score optional
  • optional, not held read scripts optional
04 arts and humanities 1 required
  • required, not held link between dance and music style required
05 education 1 required
  • required, not held subject of music coaching required
Table 4

Table 4 · Where to start

The 3 entries a dance 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 11 skills that carry over
Skill Type
  • already held create new fight sequences skill
  • already held intellectual property law knowledge
  • already held labour legislation knowledge
  • already held manage artistic career skill
  • already held manage personal professional development skill
  • already held prepare performance training session skill
  • already held work with respect for own safety skill
  • already held analyse your fight discipline expertise skill
  • already held manage artistic project skill
  • already held read dance scores skill
  • already held work in an international environment skill
16 supplementary skills, helpful but not required
Skill to acquire Tier
  • optional, not held analyse a script optional
  • optional, not held analyse music score optional
  • optional, not held create choreographic material optional
  • optional, not held develop codified movements optional
  • optional, not held develop methods for choreographic integration optional
  • optional, not held develop proposed choreographic language optional
  • optional, not held follow time cues optional
  • optional, not held inspire enthusiasm for dance optional
  • optional, not held perform dances optional
  • optional, not held prompt performers optional
  • optional, not held read scripts optional
  • optional, not held stimulate performers' imagination optional
  • optional, not held teach dance optional
  • optional, not held understand the architecture of a live performance optional
  • optional, not held understand the conceptual dimension of a live performance optional
  • optional, not held understand the physical language of a live performance optional
18 held skills the dance répétiteur role does not ask for
Skill Type
  • not needed by the target role adapt fighting techniques for performance skill
  • not needed by the target role adjust the work to the venue skill
  • not needed by the target role coach performers in your fight discipline skill
  • not needed by the target role communicate expectations of fight actions skill
  • not needed by the target role define an approach to your fight dicipline skill
  • not needed by the target role develop strategy to solve problems skill
  • not needed by the target role engage in fencing skill
  • not needed by the target role ensure the longevity of the fight actions skill
  • not needed by the target role memorise lines skill
  • not needed by the target role monitor art scene developments skill
  • not needed by the target role perform risk assessment for fight actions skill
  • not needed by the target role performing arts fights legal regulations knowledge
  • not needed by the target role read musical score skill
  • not needed by the target role show intercultural awareness skill
  • not needed by the target role supervise performers' fights skill
  • not needed by the target role use personal protection equipment skill
  • not needed by the target role work ergonomically skill
  • not needed by the target role write risk assessment on performing arts production 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 link between dance and music style required
  • required, not held subject of music coaching required
Index

Other moves recorded from fight director

Full index of moves from fight director

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.