LITMIR.BIZ

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Write: Identify Your Strengths and Weaknesses 35Studio Notes: Jeanine Durning 36DAY 7 Embracing MysteryDancing involves surrender. 37To Do: Breathing Spot 39To Do: Three-Part Breath 39To Dance: Refreshing What’s Needed 40To Write: What’s Your Experience of Mystery? 40Studio Notes: Suprapto Suryodarmo 41Being Seen, Being Moved: Authentic Movement and Performance, Part I 42DAY 8 Looking Back, Moving ForwardDance history comes in several forms. 45To Do: Releasing the Jaw 59To Dance: Dance One Artist’s Dance 60To Write: Your Dance Story 60Studio Notes: Nancy Stark Smith 61Studio Notes: Teena Marie Custer 63PART 2MAKING DAY 9 ImprovisingImprovising can be experienced on a continuum. 67To Do: Freeing the Girdles 69To Dance: Dance Your Partner 70To Write: Improvisational Mind 71Studio Notes: Lisa Gonzales, Pamela Vail, and Michael Chorney 72DAY 10 ComposingComposition is arranging. 75To Do: Four Movement Qualities 77To Dance: Framing 79To Dance: Composing with a Group 79To Do and Write: Dance-a-Day Notebook 80Studio Notes: Jim Coleman 81DAY 11 ChoreographingChoreography involves the why of a thing. 83To Do: Contra-lateral Yield and Push 84To Dance: Building Trios 85To Write and Do: Concept-Driven Dance 85Studio Notes: David Dorfman 86Studio Notes: John Elder 88DAY 12 Visceral MovementHow do you know whether you’re moving or still? 89To Do: Pelvic Floor 91To Dance: The Antidote-to-the-Antidote Dance 92To Write: Artist’s Statement 93Studio Notes: Bebe Miller 94DAY 13 RehearsingThe most stunning dancing happens in rehearsals. 95To Do: Ball of Energy 99To Dance: Body-Parts Duets 100To Dance: Declarations 101To Write: Reviewing Rehearsing 102Studio Notes: Peter Schmitz 103DAY 14 Sound and MusicEars are always open. 105To Do: Resonance 108To Dance: Dancing Twelve 109To Dance: DJ Time 109To Write: Music Journal 110Studio Notes: Michael Chorney 111DAY 15 Space and PlaceSpace shapes the body, and the body shapes space. 113To Do: Parallel Lines in the Sand 117To Dance: Space Plan 117To Write and Do: Gestalt Dance 118Studio Notes: Chris Aiken 119DAY 16 EndingsDon’t abandon your ending. 121To Do: Practicing Ending 122To Dance: Calling End 122To Write: Ending? 123Studio Notes: Robert Swinston, on Merce Cunningham 124PART 3COLLABORATING DAY 17 Words and FeedbackLanguage shapes a way of thinking. 129WIGO 131Reinterpreting Butterflies 131To Do: Watching and Writing 133Watching a Dance 133To Dance: Dance-Back 134To Speak: Talking about Dancing 134To Write: Performance Response 135Studio Notes: Kate Trammell 136Studio Notes: Deborah Jowitt 137DAY 18 Touch and PartneringTouch and partnering involve a yield toward center. 139To Do: Layers of Touch 141To Dance: Landscapes 142To Write: Touching and Being Touched 142Studio Notes: Terry Creach 143DAY 19 VisionVision links past with future and communicates the present. 145To Do: Expanding the Skull 149Visual Practices 149To Do: Flowing and Forming 150To Dance: Postcard Dances 150To Write: Vision Statement 151Studio Notes: Lisa Nelson 152Dance, Place, and Video: Otto Ramstad 153DAY 20 Breath and VoiceBreath affects the phrasing and timing of movement and vocalization. 155To Do: Resonance 159To Do: Talking to the Floor 159To Dance: Dancing Your Story 160To Write and Present: Speaking Your Artist’s Statement 160Studio Notes: Alex Draper 161DAY 21 Textures, Fabrics, and CostumesCostumes are experienced as part of the body. 163To Do: Costume Day 166To Dance: Opposite-Voice Costumes 166To Do and Write: Laying Out Possibilities 167Studio Notes: Heidi Henderson 168 Скачать книгу