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By Jonathan Burrows

On choreography: "Choreography is a negotiation with the styles your physique is considering" On ideas: "Try breaking the principles on a necessity to damage the principles foundation" A Choreographer’s guide invitations the reader to enquire how and why to make a dance functionality. In an inspiring and surprisingly empowering series of news, principles and paradoxes, across the world popular dancer, choreographer and instructor Jonathan Burrows explains how it’s attainable to navigate a path via this advanced procedure. it's a beautiful mirrored image on a private perform trip, and attracts upon 5 years’ of workshop discussions, led by way of Burrows. Burrows’ open and sincere prose provides the reader entry to quite a number routines, meditations, rules and concepts on choreography that permit artists and dance-makers to discover their very own aesthetic procedure. it's a publication for an individual drawn to making functionality, at no matter what point and in whichever kind.

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Inspiration: Inspiration is useful if you can get it, but working is more useful. Stealing: Stealing is useful so long as you know you’re stealing. What you make probably won’t look like what you’ve stolen, but if it does the audience will know. In that case for them what’s stolen will become the primary subject, the thing they see first and most strongly, and what you make may be weakened by it. Usually when you steal something consciously it looks nothing like the thing you’ve stolen. A CHOREOGRAPHER’S HANDBOOK 31 Stealing: Stealing from yourself is also a useful strategy, so long as you’re not bored yet by what you steal.

Cut and paste: The use of improvisation as a tool to find material is intimately linked to that kind of choreographic process which finds things first and then decides the order to put them in. Let’s call this process ‘cut and paste’. It’s a very good way to work for many people. Cut and paste is perhaps the most effective way to deal with fragments found by improvising. We improvise to find the strongest movements and then use cut and paste to put them together – we develop skills of cutting and pasting which draw us back each time to improvisation as a primary tool to find material.

All of these questions can be asked even if you don’t know what you’re trying to do. So long, that is, that you know you don’t know what you’re trying to do. It’s ok not to know what you’re trying to do. Improvisation: Improvisation can also be a way to work towards finding material that will be structured or set in the final piece. Working this way can produce a lot of material very fast. It isn’t, however, always easy to know how to use what you find. My picture looks like this: I improvise and find myself in the middle of a complexity beyond my ability to grasp; I am flying.

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