By Ursula Schorn
Anna Halprin is a world-famous theatre artist and early pioneer within the expressive arts therapeutic circulation. This publication explores her own development as a dancer and choreographer and the improvement of her healing and pedagogical method.
The authors, who every one proficient with Halprin, introduce her inventive paintings and the 'Life/Art Process®' she built, an method that takes lifestyles studies as a resource for creative expression. additionally they learn the broader influence of Halprin's paintings at the fields of paintings, schooling, treatment and political motion and speak about how she crossed the conventionally outlined barriers among them.
Exploring Halprin's trust that dance could be a robust strength for transformation, therapeutic, schooling, and making our lives entire, this booklet is a tribute to a good physique of creative and healing paintings and may be of curiosity to expressive arts therapists, dance stream psychotherapists, dancers, functionality and neighborhood artists, and somebody with an curiosity in modern dance.
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Additional info for Anna Halprin: Dance - Process - Form
Example text
Influenced by French and German phenomenologist philosophers, existentialism 57 58 ANNA HALPRIN and humanism, basic assumptions were made about the nature of the human being. Man is seen holistically as a biological, psychological and social being. His self-responsibility and freedom of choice enable him to act decisively and realise himself. As a being that has subjective experience and perception, he is able to gain knowledge of himself and the world through his senses. 2 The whole person appears in his potential for creating and transforming, and according to Anna Halprin’s conviction embraces ‘the emotional life, which dancers rarely study.
The idea of two separate ensembles was repeated in Animal Ritual, which was first performed at the 1971 American Dance Festival (and The Life and Work of Anna Halprin 43 called West/East Stereo in later productions). With the SFDW, of which many black men were now members, Anna Halprin explored the movements of an imaginary ‘horde of animals’ from the West Coast, while with students at the Festival she explored a ‘horde from the East’. A week before the premiere she brought the two together. 67 The public was asked to bring along objects from home, to put the piece together communally.
55 Indian dances can last for hours and days: the ‘Snake Dance’ begins at sunrise and goes on until midnight, and the ‘Corn Dance’ lasts for five days. Anna Halprin started extending the duration of the public’s collective explorations. With Ten Myths in October 1967 she created a series of ten evenings in which, once a week, around 50 people became public performers: students at the school of art, business people, dancers, architects, psychotherapists, hippies, tourists and people who were just curious came together each time to create a task out of a ‘myth’.