Reading the Bales article twice, it has confirmed and contextualized my understanding of how I am progressing internally and externally in my dance training. I have always known and thought that what we do in lessons, and in ‘postmodern’ practice, that it acts as a learning and a base for improving skill, technique and awareness in, not just Contemporary dance, but in other art forms, for example yoga and ballet. There was particular reference in the article to how artists differentiate their training patterns, contrasting maybe having skinner releasing classes alongside ballet classes. The article expresses that artists choose to have this contrast as a complimentary combination, for reasons such as a release and a rest from a highly aesthetic style (ballet); having the combination of a skinner class would enable the dancer to maybe have a sense of themselves during ballet class, and pay subconscious attentions to other aspects, for example trying out barre work without ‘holding’ in ...
Task 1: Learning about the Arthrometric model was interesting for me, I tended to notice what movement was coming from my hips and shoulders in the central zone. When running around the room, I was practising articulating my feet (using my metatarsals, hinge joint) and the gliding joints in my feet. I find that knowing the terminology for different parts of your body helps to image them when moving. I didn't fully know what to notice or understand the purpose. Learning about the radial symmetry was informative, ie; elbows and knees are biaxial, cannot alter direction but can offer full range in movement, and the joints from the knees to the ankles are triaxial, as are joints from elbow to hand. It's quite complicated and would take a few physical exercises of exploration, to fully grasp . The Arthrometric Model Source: Andrea Olsen - Body Stories Task 2: It was interesting to learn about the ribs because I didn't know much about the anatomy of how the rib...
The Trickster The Child The Innocent The Mother The Hero The Old The Whore - to name a few! These are all examples of sterotypical characters that are easily accessible to portray in theatre. This is easily acheived through playing around with undulations. Undulation is: bending knees, slumping your body over, pushing your pelvis out and returning upright to lean back into your hip joints. In each of these positions a character can be born, for example: in the bending knees and slumped over form, its easy to play 'The Old'. The same for 'The Mother' leaning back can portray pregnancy, and theres so many more. If you lead with your head, you can play 'The Hero', strong and willful. If you lead with your nose, you could play 'The Geek' or even 'The Nosey'. So many possibilities evolve just from playing around with physicality, and which part of the body to lead with. This technique was used as a form of 'Commedia Del Arte...
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