By Lynne Anne Blom
"Designed to be a valuable day-by-day better half to the dance instructor or corporation director... it isn't simply what's provided, however the pleasant approach the authors stimulate the mind's eye alongside the best way that units this ebook except others of its kind". Jan Wilkens, Dance instructor Now
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Additional resources for The Intimate Act of Choreography
Example text
It adds both interest and complexity to the dance when the phrases vary in length. Choreographic Study: Mixing Phrases Using the Impulse improvisation (p. 25), loosely set three phrases (all of the same length) and put them together. Then make one of the three phrases as long and as extended as possible, while still coming out of the single impulse. Take another of the three phrases and make it as short and concise as possible. Put these two together with the remaining medium-length phrase. Show both the equal-length version and the variedlength version.
You are all lines and angles, crooked, every joint a hinge-perhaps like a robot. Be efficient, direct. How does it feel? Stiff? Jerky? Show how it feels. Now move through space in straight, direct paths. You may change directions along corners or angles only-change abruptly, sharply. Find a way to finish that shows, in the end design, the feeling of these actions. Discuss the differences that were noted between the curved and the straight-and-angular movement. Try to identify emotional overtones or suggestive themes and images that each brought to mind.
Having fun breaks the ice, gets you going. Being silly is spontaneous, and if you can stay involved and not get superficial, it is possible to play with movement in a brainstorming approach. Judgment is left aside. So, first and foremost, we're concerned with the relationship of two individuals in which the connecting link is of prime importance. Before asking two people to move together, however, it's important to provide one or more fundamental improvisational structures in which they'll get a feel for that vital connection.