By Pauline Koner
First released in 1992. Routledge is an imprint of Taylor & Francis, an informa corporation.
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Additional resources for Elements of Performance: A Guide for Performers in Dance, Theatre and Opera
Example text
This concentrationdemandsan awareness-a needto dig deepand deeperin an endlesssearchfor your center. It is a form of self hypnosis. It entails a journey from outer self to inner self, a search,a discoveryof the very kernel of being - an amalgamof all our life forces: senses,emotions,thinking, and experiences- filtered to becomethe essenceof that center. All externalsare peeledaway; only the core remains. That core of being. Inner focus lends an electric intensity to the performer. We call it presence.
A conscious awarenessof that part becomesthe focal point of that movement. However, the focal point can also be simply an isolatedmovement,for example,the rolling of the heador the rib cage movementin African dance,the hip movementin Hawaiian dance,or the handmovementof EastIndian dance. All are examplesof body focus. But theseare part of an ethnic style in which the dancerhas an inbred instinctive awareness of the focus. No matterhow small the movementmay be it is vital to rememberthat the entire body is always involved.
DRAMATIC FOCUS I think that some performers do not realize how important it is to be aware of the dramaticpotential in movement. Every dancershouldbe a good actor,just as every actor should know how to move well. I have found many important clues from An Actor Preparesby Constantin Stanislavski. It is possible to extract from this book what is importantfor the dancer-actorwithout getting too involved with the whole of his method. The vital thing in performing a narrativeballet or a dramaticwork, such as Jose Limon's "The Moor's Pavane",is to forget oneself.