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Contents

Preface xv
Introduction xvii
About This Book xxi
PART 1MOVING
DAY 1 Basic ConceptsDance is both universal and highly personal. 3
To Do: Orientation 4
To Dance: Familiar-Voice Dancing 5
To Write: Personal Orientation 5
About the Tonic System 5
Studio Notes: Bonnie Bainbridge Cohen 6
DAY 2 AttitudesPeople have complex views about the dancing body. 7
To Do: Finding Your Calcaneus 9
To Dance: Opposite-Voice Dancing 10
To Write: Why Dance? 10
Studio Notes: David Dorfman 11
DAY 3 FlowFlow is our oceanic heritage. 13
To Do: Rolling and Pouring 14
To Do: Spherical Awareness 15
To Dance: Plumb-Line Falls 16
To Write: Letting Words Flow 16
Studio Notes: Kathleen Hermesdorf 17
DAY 4 FireSometimes we need fire. 19
Bone Marrow 20
To Do: Vessel Breath 21
To Dance: Dancing through the Body Systems 22
To Write: Fire and You 23
Studio Notes: Caryn McHose 24
DAY 5 Getting StartedYou can only dance where you are. 25
To Do: Three Long Walks 27
To Dance: Presentations 28
To Write: Creative Conditions 29
Studio Notes: Penny Campbell 30
DAY 6 Training and TechniqueWe train for the unknown. 31
What I Look for in a Performer (Tamar Rogoff) 32
To Do: Hip Reflex 34
To Dance: Light-Touch Duets 34
To Write: Identify Your Strengths and Weaknesses 35
Studio Notes: Jeanine Durning 36
DAY 7 Embracing MysteryDancing involves surrender. 37
To Do: Breathing Spot 39
To Do: Three-Part Breath 39
To Dance: Refreshing What’s Needed 40
To Write: What’s Your Experience of Mystery? 40
Studio Notes: Suprapto Suryodarmo 41
Being Seen, Being Moved: Authentic Movement and Performance, Part I 42
DAY 8 Looking Back, Moving ForwardDance history comes in several forms. 45
To Do: Releasing the Jaw 59
To Dance: Dance One Artist’s Dance 60
To Write: Your Dance Story 60
Studio Notes: Nancy Stark Smith 61
Studio Notes: Teena Marie Custer 63
PART 2MAKING
DAY 9 ImprovisingImprovising can be experienced on a continuum. 67
To Do: Freeing the Girdles 69
To Dance: Dance Your Partner 70
To Write: Improvisational Mind 71
Studio Notes: Lisa Gonzales, Pamela Vail, and Michael Chorney 72
DAY 10 ComposingComposition is arranging. 75
To Do: Four Movement Qualities 77
To Dance: Framing 79
To Dance: Composing with a Group 79
To Do and Write: Dance-a-Day Notebook 80
Studio Notes: Jim Coleman 81
DAY 11 ChoreographingChoreography involves the why of a thing. 83
To Do: Contra-lateral Yield and Push 84
To Dance: Building Trios 85
To Write and Do: Concept-Driven Dance 85
Studio Notes: David Dorfman 86
Studio Notes: John Elder 88
DAY 12 Visceral MovementHow do you know whether you’re moving or still? 89
To Do: Pelvic Floor 91
To Dance: The Antidote-to-the-Antidote Dance 92
To Write: Artist’s Statement 93
Studio Notes: Bebe Miller 94
DAY 13 RehearsingThe most stunning dancing happens in rehearsals. 95
To Do: Ball of Energy 99
To Dance: Body-Parts Duets 100
To Dance: Declarations 101
To Write: Reviewing Rehearsing 102
Studio Notes: Peter Schmitz 103
DAY 14 Sound and MusicEars are always open. 105
To Do: Resonance 108
To Dance: Dancing Twelve 109
To Dance: DJ Time 109
To Write: Music Journal 110
Studio Notes: Michael Chorney 111
DAY 15 Space and PlaceSpace shapes the body, and the body shapes space. 113
To Do: Parallel Lines in the Sand 117
To Dance: Space Plan 117
To Write and Do: Gestalt Dance 118
Studio Notes: Chris Aiken 119
DAY 16 EndingsDon’t abandon your ending. 121
To Do: Practicing Ending 122
To Dance: Calling End 122
To Write: Ending? 123
Studio Notes: Robert Swinston, on Merce Cunningham 124
PART 3COLLABORATING
DAY 17 Words and FeedbackLanguage shapes a way of thinking. 129
WIGO 131
Reinterpreting Butterflies 131
To Do: Watching and Writing 133
Watching a Dance 133
To Dance: Dance-Back 134
To Speak: Talking about Dancing 134
To Write: Performance Response 135
Studio Notes: Kate Trammell 136
Studio Notes: Deborah Jowitt 137
DAY 18 Touch and PartneringTouch and partnering involve a yield toward center. 139
To Do: Layers of Touch 141
To Dance: Landscapes 142
To Write: Touching and Being Touched 142
Studio Notes: Terry Creach 143
DAY 19 VisionVision links past with future and communicates the present. 145
To Do: Expanding the Skull 149
Visual Practices 149
To Do: Flowing and Forming 150
To Dance: Postcard Dances 150
To Write: Vision Statement 151
Studio Notes: Lisa Nelson 152
Dance, Place, and Video: Otto Ramstad 153
DAY 20 Breath and VoiceBreath affects the phrasing and timing of movement and vocalization. 155
To Do: Resonance 159
To Do: Talking to the Floor 159
To Dance: Dancing Your Story 160
To Write and Present: Speaking Your Artist’s Statement 160
Studio Notes: Alex Draper 161
DAY 21 Textures, Fabrics, and CostumesCostumes are experienced as part of the body. 163
To Do: Costume Day 166
To Dance: Opposite-Voice Costumes 166
To Do and Write: Laying Out Possibilities 167
Studio Notes: Heidi Henderson 168
DAY 22 Dancing with LightLight makes things happen. 169
To Do: Lighting Board 171
To Dance: Four Lighting Possibilities 172
To Write and Do: Light Your Dance with a Designer 172
Seven Questions to Ask Yourself 173
Studio Notes: Kathy Couch 174
DAY 23 From Studio to StagePerformance week is a time to focus. 177
To Do: Saying Your Name 178
To Dance: Rehearsal Coaching 178
To Write and Speak: Elevator Pitch 178
Studio Notes: Bonnie Bainbridge Cohen 179
DAY 24 PerformingPerformance invokes transformation. 181
To Do: Tuning Stillness and Moving Warm-up 184
To Dance: Thresholds 185
To Write: What’s Your Relationship to Performance? 185
Studio Notes: Susan Prins 186
Being Seen, Being Moved: Authentic Movement and Performance, Part II 187
PART 4LIVING
DAY 25 Healthy DancingThe nervous system governs our actions and reactions. 193
To Do: Imagining the Cortex 198
Central Nervous System 198
To Dance: Dancing through the Nervous System, Part I 199
To Write: What’s Healthy Dancing to You? 200
Studio Notes: Stuart Singer 201
DAY 26 Healing DancingDancing and dance making create agency. 203
To Do: Embodying the Four Layers of the Nervous System 206
To Dance: Dancing through the Nervous System, Part II 207
To Write: Reflecting on Writing 207
Studio Notes: Paul Matteson 208
DAY 27 Teaching DancingTeaching is learning. 211
To Do: Heel Foot and Ankle Foot 212
To Dance: Extending Your Range 213
To Write: Teaching Dancing 214
Six Composing Basics 214
Reviewing Ten Landmarks for Efficient Movement 215
Studio Notes: David Dorfman 218
DAY 28 Dance and YogaDance and yoga are longtime partners. 219
To Do: Articulating Eight Horizontal Diaphragms 222
To Dance: Preparations for Sun Salutation 223
To Do and Write: Savasana 224
Studio Notes: Bonnie Bainbridge Cohen 225
DAY 29 Nature and CreativityBody is Earth. 227
To Do: Place Map 230
To Dance: BE-ING Score 230
To Write: An Experience in Nature 230
Studio Notes: Andrea Olsen, Art Making and the Environment 231
DAY 30 Concerning the SpiritualDance is embodied spirit. 235
To Do: Three Contemplative Practices 237
To Dance: Sacred Space 238
To Write: A Sense of the Sacred 238
Studio Notes: Janet Adler 239
DAY 31 Personal ProjectCreate your own chapter. 241
Acknowledgments 243
Notes 247
Selected Bibliography 253
Publication Credits 255
Subject Index 257
Art Index 265
The Place of Dance

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