Читать книгу The Place of Dance - Andrea Olsen - Страница 7
ОглавлениеContents
Preface xv | ||
Introduction xvii | ||
About This Book xxi | ||
PART 1 | MOVING | |
DAY 1 Basic Concepts | Dance 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 Attitudes | People 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 Flow | Flow 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 Fire | Sometimes 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 Started | You 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 Technique | We 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 Mystery | Dancing 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 Forward | Dance 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 2 | MAKING | |
DAY 9 Improvising | Improvising 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 Composing | Composition 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 Choreographing | Choreography 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 Movement | How 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 Rehearsing | The 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 Music | Ears 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 Place | Space 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 Endings | Don’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 3 | COLLABORATING | |
DAY 17 Words and Feedback | Language 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 Partnering | Touch 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 Vision | Vision 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 Voice | Breath 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 Costumes | Costumes 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 Light | Light 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 Stage | Performance 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 Performing | Performance 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 4 | LIVING | |
DAY 25 Healthy Dancing | The 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 Dancing | Dancing 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 Dancing | Teaching 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 Yoga | Dance 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 Creativity | Body 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 Spiritual | Dance 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 Project | Create your own chapter. 241 | |
Acknowledgments 243 | ||
Notes 247 | ||
Selected Bibliography 253 | ||
Publication Credits 255 | ||
Subject Index 257 | ||
Art Index 265 |