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Place of Dance [Mīkstie vāki]

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  • Formāts: Paperback / softback, 288 pages, height x width: 279x216 mm, 100 illus.
  • Izdošanas datums: 30-Jan-2014
  • Izdevniecība: Wesleyan University Press
  • ISBN-10: 0819574058
  • ISBN-13: 9780819574053
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  • Mīkstie vāki
  • Cena: 31,24 €
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Place of DancePalielināt
  • Formāts: Paperback / softback, 288 pages, height x width: 279x216 mm, 100 illus.
  • Izdošanas datums: 30-Jan-2014
  • Izdevniecība: Wesleyan University Press
  • ISBN-10: 0819574058
  • ISBN-13: 9780819574053
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780819574053.html
Keywords:
An essential guide to embodied awareness

The Place of Dance is written for the general reader as well as for dancers. It reminds us that dancing is our nature, available to all as well as refined for the stage. Andrea Olsen is an internationally known choreographer and educator who combines the science of body with creative practice. This workbook integrates experiential anatomy with the process of moving and dancing, with a particular focus on the creative journey involved in choreographing, improvising, and performing for the stage. Each of the chapters, or "days," introduces a particular theme and features a dance photograph, information on the topic, movement and writing investigations, personal anecdotes, and studio notes from professional artists and educators for further insight. The third in a trilogy of works about the body, including Bodystories: A Guide to Experiential Anatomy and Body and Earth: An Experiential Guide, The Place of Dance will help each reader understand his/her dancing body through somatic work, create a dance, and have a full journal clarifying aesthetic views on his or her practice. It is well suited for anyone interested in engaging embodied intelligence and living more consciously.
Preface xv
Introduction xvii
About This Book xxi
PART 1 MOVING
Day 1 Basic Concepts Dance is both universal and highly personal
3(4)
To Do: Orientation
4(1)
To Dance: Familiar-Voice Dancing
5(1)
To Write: Personal Orientation
5(1)
About the Tonic System
5(1)
Studio Notes: Bonnie Bainbridge Cohen
6(1)
Day 2 Attitudes People have complex views about the dancing body
7(6)
To Do: Finding Your Calcaneus
9(1)
To Dance: Opposite-Voice Dancing
10(1)
To Write: Why Dance?
10(1)
Studio Notes: David Dorfman
11(2)
Day 3 Flow Flow is our oceanic heritage
13(6)
To Do: Rolling and Pouring
14(1)
To Do: Spherical Awareness
15(1)
To Dance: Plumb-Line Falls
16(1)
To Write: Letting Words Flow
16(1)
Studio Notes: Kathleen Hermesdorf
17(2)
Day 4 Fire Sometimes we need fire
19(6)
Bone Marrow
20(1)
To Do: Vessel Breath
21(1)
To Dance: Dancing through the Body Systems
22(1)
To Write: Fire and You
23(1)
Studio Notes: Caryn McHose
24(1)
Day 5 Getting Started You can only dance where you are
25(6)
To Do: Three Long Walks
27(1)
To Dance: Presentations
28(1)
To Write: Creative Conditions
29(1)
Studio Notes: Penny Campbell
30(1)
Day 6 Training and Technique We train for the unknown
31(6)
What I Look for in a Performer (Tamar Rogoff)
32(2)
To Do: Hip Reflex
34(1)
To Dance: Light-Touch Duets
34(1)
To Write: Identify Your Strengths and Weaknesses
35(1)
Studio Notes: Jeanine Durning
36(1)
Day 7 Embracing Mystery Dancing involves surrender
37(8)
To Do: Breathing Spot
39(1)
To Do: Three-Part Breath
39(1)
To Dance: Refreshing What's Needed
40(1)
To Write: What's Your Experience of Mystery?
40(1)
Studio Notes: Suprapto Suryodarmo
41(1)
Being Seen, Being Moved: Authentic Movement and Performance, Part I
42(3)
Day 8 Looking Back, Moving Forward Dance history comes in several forms
45(22)
To Do: Releasing the Jaw
59(1)
To Dance: Dance One Artist's Dance
60(1)
To Write: Your Dance Story
60(1)
Studio Notes: Nancy Stark Smith
61(2)
Studio Notes: Teena Marie Custer
63(4)
PART 2 MAKING
Day 9 Improvising Improvising can be experienced on a continuum
67(8)
To Do: Freeing the Girdles
69(1)
To Dance: Dance Your Partner
70(1)
To Write: Improvisational Mind
71(1)
Studio Notes: Lisa Gonzales, Pamela Vail, and Michael Chorney
72(3)
Day 10 Composing Composition is arranging
75(8)
To Do: Four Movement Qualities
77(2)
To Dance: Framing
79(1)
To Dance: Composing with a Group
79(1)
To Do and Write: Dance-a-Day Notebook
80(1)
Studio Notes: Jim Coleman
81(2)
Day 11 Choreographing Choreography involves the why of a thing
83(6)
To Do: Contra-lateral Yield and Push
84(1)
To Dance: Building Trios
85(1)
To Write and Do: Concept-Driven Dance
85(1)
Studio Notes: David Dorfman
86(2)
Studio Notes: John Elder
88(1)
Day 12 Visceral Movement How do you know whether you're moving or still?
89(6)
To Do: Pelvic Floor
91(1)
To Dance: The Antidote-to-the-Antidote Dance
92(1)
To Write: Artist's Statement
93(1)
Studio Notes: Bebe Miller
94(1)
Day 13 Rehearsing The most stunning dancing happens in rehearsals
95(10)
To Do: Ball of Energy
99(1)
To Dance: Body-Parts Duets
100(1)
To Dance: Declarations
101(1)
To Write: Reviewing Rehearsing
102(1)
Studio Notes: Peter Schmitz
103(2)
Day 14 Sound and Music Ears are always open
105(8)
To Do: Resonance
108(1)
To Dance: Dancing Twelve
109(1)
To Dance: DJ Time
109(2)
To Write: Music Journal no Studio Notes: Michael Chorney
111(2)
Day 15 Space and Place Space shapes the body, and the body shapes space
113(8)
To Do: Parallel Lines in the Sand
117(1)
To Dance: Space Plan
117(1)
To Write and Do: Gestalt Dance
118(1)
Studio Notes: Chris Aiken
119(2)
Day 16 Endings Don't abandon your ending
121(8)
To Do: Practicing Ending
122(1)
To Dance: Calling End
122(1)
To Write: Ending?
123(1)
Studio Notes: Robert Swinston, on Merce Cunningham
124(5)
PART 3 COLLABORATING
Day 17 Words and Feedback Language shapes a way of thinking
129(10)
Wigo
131(1)
Reinterpreting Butterflies
131(2)
To Do: Watching and Writing
133(1)
Watching a Dance
133(1)
To Dance: Dance-Back
134(1)
To Speak: Talking about Dancing
134(1)
To Write: Performance Response
135(1)
Studio Notes: Kate Trammell
136(1)
Studio Notes: Deborah Jowitt
137(2)
Day 18 Touch and Partnering Touch and partnering involve a yield toward center
139(6)
To Do: Layers of Touch
141(1)
To Dance: Landscapes
142(1)
To Write: Touching and Being Touched
142(1)
Studio Notes: Terry Creach
143(2)
Day 19 Vision Vision links past with future and communicates the present
145(10)
To Do: Expanding the Skull
149(1)
Visual Practices
149(1)
To Do: Flowing and Forming
150(1)
To Dance: Postcard Dances
150(1)
To Write: Vision Statement
151(1)
Studio Notes: Lisa Nelson
152(1)
Dance, Place, and Video: Otto Ramstad
153(2)
Day 20 Breath and Voice Breath affects the phrasing and timing of movement and vocalization
155(8)
To Do: Resonance
159(1)
To Do: Talking to the Floor
159(1)
To Dance: Dancing Your Story
160(1)
To Write and Present: Speaking Your Artist's Statement
160(1)
Studio Notes: Alex Draper
161(2)
Day 21 Textures, Fabrics, and Costumes
Costumes are experienced as part of the body
163(3)
To Do: Costume Day
166(1)
To Dance: Opposite-Voice Costumes
166(1)
To Do and Write: Laying Out Possibilities
167(1)
Studio Notes: Heidi Henderson
168(1)
Day 22 Dancing with Light Light makes things happen
169(8)
To Do: Lighting Board
171(1)
To Dance: Four Lighting Possibilities
172(1)
To Write and Do: Light Your Dance with a Designer
172(1)
Seven Question? to Ask Yourself
173(1)
Studio Notes: Kathy Couch
174(3)
Day 23 From Studio to Stage Performance week is a time to focus
177(4)
To Do: Saying Your Name
178(1)
To Dance: Rehearsal Coaching
178(1)
To Write and Speak: Elevator Pitch
178(1)
Studio Notes: Bonnie Bainbridge Cohen
179(2)
Day 24 Performing Performance invokes transformation
181(12)
To Do: Tuning Stillness and Moving Warm-up
184(1)
To Dance: Thresholds
185(1)
To Write: What's Your Relationship to Performance?
185(1)
Studio Notes: Susan Prins
186(1)
Being Seen, Being Moved: Authentic Movement and Performance, Part II
187(6)
PART 4 LIVING
Day 25 Healthy Dancing The nervous system governs our actions and reactions
193(10)
To Do: Imagining the Cortex
198(1)
Central Nervous System
198(1)
To Dance: Dancing through the Nervous System, Part I
199(1)
To Write: What's Healthy Dancing to You?
200(1)
Studio Notes: Stuart Singer
201(2)
Day 26 Healing Dancing Dancing and dance making create agency
203(8)
To Do: Embodying the Four Layers of the Nervous System
206(1)
To Dance: Dancing through the Nervous System, Part II
207(1)
To Write: Reflecting on Writing
207(1)
Studio Notes: Paul Matteson
208(3)
Day 27 Teaching Dancing Teaching is learning
211(8)
To Do: Heel Foot and Ankle Foot
212(1)
To Dance: Extending Your Range
213(1)
To Write: Teaching Dancing
214(1)
Six Composing Basics
214(1)
Reviewing Ten Landmarks for Efficient Movement
215(3)
Studio Notes: David Dorfman
218(1)
Day 28 Dance and Yoga Dance and yoga are longtime partners
219(8)
To Do: Articulating Eight Horizontal Diaphragms
222(1)
To Dance: Preparations for Sun Salutation
223(1)
To Do and Write: Savasana
224(1)
Studio Notes: Bonnie Bainbridge Cohen
225(2)
Day 29 Nature and Creativity Body is Earth
227(8)
To Do: Place Map
230(1)
To Dance: Being Score
230(1)
To Write: An Experience in Nature
230(1)
Studio Notes: Andrea Olsen, Art Making and the Environment
231(4)
Day 30 Concerning the Spiritual Dance is bodied spirit
235(6)
To Do: Three Contemplative Practices
237(1)
To Dance: Sacred Space
238(1)
To Write: A Sense of the Sacred
238(1)
Studio Notes: Janet Adler
239(2)
Day 31 Personal Project Create your own chapter
241(2)
Acknowledgments 243(4)
Notes 247(6)
Selected Bibliography 253(2)
Publication Credits 255(2)
Subject Index 257(8)
Art Index 265
Andrea Olsen is professor of dance and faculty member in the Environmental Studies Program at Middlebury College. She also performs, teaches yoga and creative writing, and offers workshops worldwide.