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WEEK 1

mon-fri · 9:30-12:30am · workshop
Move To Listen / Assisted Solo
Albert Quesada
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We extract rhythm and qualities from music, we learn a variety of practices for listening while moving: scores and games to exercise our listening in connection to movement. This helps us improve very much body awareness and the rhythm of improvised material. In this part of the class, I share my love for music and for listening.
– Under what we call Assisted Solo Journey, we create a ‘supporting dance’, reading and responding to our partner’s dance becomes our very own dance. Starting with a solo being assisted by another dancer, the form develops until the whole room, be it 5, 10 or more, assist the solo. Supporters and soloist are part of the composition and intuitively design the choreography, making choices based on how to support the dance. The Assisted Solo form goes beyond the classroom, and it teaches us that asking for help (for assistance) can be a crucial skill in our lives.

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mon-fri · 2-5pm · workshop
The Speaking Dancer
Gabel Eiben & Tale Dolven
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With Tale being a dancer and Gabel an actor, we will explore both movements and text in this workshop, aiming at facilitating both means of expression.
For practicing text we will use the in-ear method; listening to text and saying it as you hear it. This allows for a quite blunt, uncensored way of performing, as you simply repeat what you hear. We will work with a similar approach to movement; seeing and copying to create an immediate movement generator. We will set up across-the-room relations that connect the participants to each other, while still allowing every participant to develop themselves. This creates a practice that is individual yet also relating to the group.
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WEEK 2

mon-fri · 9-10:30am · class
Ways of Warming Up
Katie Vickers
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This class is split into two parts:
– A research and questioning of the ways we warm up and exploring technique through improvisation. In this research, we will question the how of preparing ourselves to arrive on and off stage. By exploring various warm up forms such as shaking, qi-gong, looping, and klein technique, we question the formal methods of preparing ourselves for practice.
– Moving into improvisation, we will work on scores relating to specificity and tonalities, working on various ways of the whole body moving as one.
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mon-fri · 11-12:30am · class
Ballet Atlas / Ballet At Last
Andrew Robinson Champlin
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In this technique course students create an embodied atlas of ballet practice that’s relevant to their own lives. Anatomic principles of weight, shape, and alignment are proposed via landmarks in classical ballet pedagogy. Technical objects are studied through building movement systems in which students learn to enhance the functionality of their own movement. Respect is paid to the transforming body in this class. A conscientious methodology is employed that aims to support the complex and transient value structures of the contemporary dance artist.
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mon-fri · 2-5pm · workshop
CHOREO | GRAPHY
Eleanor Bauer
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Working on the relations and differences between the nature of thinking in dance and the nature of thinking in language, and thinking about “choreo-graphy” as the “writing-of-dance” or “dance-writing,” we will do an equal amount of moving and writing in this workshop intensive, to work on writing from and through the dancing body.
– How can an affected, bodily, and danced relation to language help us re-think our discourse on dance as well as the role of language in dance-making?
– How can an affected, bodily and danced relation to language help us re-think our relation to words and logocentricity in general?
– What kinds of pre-lingual, extra-lingual, proto-lingual, sub-lingual, super-lingual or multi-lingual modes of thought take place in dancing, and how can we find ways to bring them back through language, to talk and write about, through, and from the dancing mind?
Dwelling in the gap between thought in language and thought in movement, we will see how dance pushes words around towards an experiment in dancing-writing.
– How can we make words express the nonlinear, synthetic, and ulterior syntaxes of dancing?
– If and when the words we use to talk about dance would be radically altered by the dancing itself, what new or unimagined dances, choreographic scores, or practices would be made possible?

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mon-fri · 2-5pm · platform
Nobody’s Business
Guided by Katie Vickers
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Nobody’s Business is an open-source platform for the sharing of artistic practices in the Performing Arts. Nobody’s Business is a format in which professional artists can meet on equal grounds to share our practical tools and knowledge, to inspire and feed each other, to foster the proliferation of information and thereby support each others work and the general advancement of the field. In order to foster continuity and community within our freelance, volatile, individually organized and precarious conditions, we seek sustainable and sustained sharing of practice and knowledge by regular doing-together. We choose to sign the event anonymously as “Nobody’s” in order to emphasize the non-ownership of ideas, knowledge, or practice, but we do not intend to erase history. To the contrary, we are interested in elucidating and mapping the movement of information within the field. Citation and documentation is therefore an important aspect of the knowledge-sharing in this project, for us to begin to trace and accredit the genealogy of sources and influences within contemporary performing arts. Emphasizing the necessity of shared time and space, Nobody’s Business is about presence, but also supports the sharing of knowledge with those absent via an online database of practices shared in each meeting.

website: https://nobodysbusiness.wordpress.com

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P r a c t i c i n g  P e r f o r m a n c e   is  run  by  acmeArts LLC

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