connections across the body
—between the shoulders and hips as the larger joints framing the torso, working in opposition or counterpoint to balance the body, or as gateways out to the limbs which, when released, amplify the range of movement out through the limbs and through space
—or the idea of working with all 5 limbs as a collaboration...arms, legs and vision...all emanating from the pelvis/saccrum
—or recognising the continuum of movement through and across the different spatial planes (wheel/sagittal, door/vertical, table/horizontal)...the sense of being contained and fluidly shifting between these circles of action, like the electrons around the nucleus of an atom
connections in the choreographic material
—recognising the evolution of material... sliding out onto the side of the body from a low kneel becomes a sliding out from a spiral/squat, then a body slide from a fouette in the air landing in a deep lunge
—finding the connections in rhythm, accent, impulse, angle, shape
—building the longer "Sweet Design" phrase by looking at the potential entry and exit points for editing phrases from class together...opportunities issuing from landings/placement, spatial position, momentum...
connections in space and with your fellow dancers
—an attention to the shifting fronts, being able to transfer material to the other side (from R to L, first to second side) through strategies of mapping relationships between body and direction/room
—dancing with other bodies safely and dynamically by both understanding the trajectory of the material and staying tuned into your peripheral vision, sensing your position in time and space in relation to and supported by the others dancing with you (including those who are watching/witnessing you)
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