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technique and body placement  about my teaching experience about the modern dance technical class (for dancers) about the "atelier work" for composition and improvisation Technique technique and body placement A wrong use of the body leads to a wrong coordination: certain parts of the body works too much, some others too less. The different elements which did lead my choice for the construction of my technical work for dance and body movement are the followings: - the feet and the contact with the floor - verticality - the weight of the body and the floor reaction - the idea of lenght, from the floor, through the body and out in the space - balance, a well distributed irradiation. To lenght and release the differents muscle chains Get sensibility and discover of the articulations chains Work their relationship and interdependances: - Relation between contact of the feet on the floor and placement of the pelvis with its - effects on the lombs. - Relation between hands which open and lowering of the shoulders and opening of the - scapular chain. Sensibilising, release, and lengthening of the body lines (laterals, transversals and crossed) - felling the contact with the surrounding walls - discovering the spiral lines which run through our body and the lines that - we project into space. My work of "Mise en corps et en mouvement" start with a combination of exercises which alternate floor work in lying and sitting position to allow to feel the lines of the body and different chains without being disturb by any balancedifficulties and the standing position to develop the feeling of verticality. It is about to feel the spiral pulsation which start in the feet and spread through the lines of the body. To experiment movement in its relation Earth-Sky in all its possibilities. A good work of the back muscle chains require a good release of front muscle chains and vice versa. So releasing a muscle chain which alternate with the work of placing and muscling its antagonist. In a vertical standing position, the alignment and lenghting of the body lines (from the feet to the top of the head) will alternate with the release standing position (releasing head and scapular belt, with bended knees). This will allow to avoid compensations and crispations while doing the exercises. Technique about my teaching experience Modern dance teacher for professional dancers (French diplom) Atelier for body and movement for actors and singers In Paris, St. Gallen, and Munich before my engagement in the Wuppertal Tanztheater company, I teach modern dance through workshops since 1989. Apart of my work as choreographer, dancer and actor, I work since 1996 as free-lance teacher for modern dance for dancers as well as body work for movement for actors and singers all around the world (France, Germany, Spain, Italy, Hongry, Tunisia, Greece, Japan, Luxemburg, Belgium, Holland, Chiprya). Since 1999, I am also authorized Kinomichi teacher from Master Noro and have a group of work in Kinomichi in Wuppertal. Since 2001, all the year through, teacher for Body consciousness and Movement for the actors of the Düsseldorfer Schauspielhaus. For the moment I am regularly invited as guest teacher in: - Dansacademy and EDDC in Arnhem, Holland (since 1996) - Festival "Danza und Tanz" in Rome (since 1999) - Session House dance studio, and - the company "Mademoiselle Cinema" in Tokyo, Japan (since 1999) - Yayoi Kazuki school for actors in Tokyo (since 2000) - Kazuo Ohno studios in Yokohama, Japan (since 2000) - International Dance Workshop Festival in Kyoto, Japan (since 2000) - Japan Women's College of Physical Education in Tokyo (since 2001) - Toronto, invited by the Newton Moraes dance Company (from 2006) Technique about the modern dance technical class (for dancers) I built my class from the experience I gained from my teachers in modern dance (Peter Goss, Hans Züllig, Jean Cebron), classical dance, Kinomichi (M. Masamichi NORO) and Tai chi. Associating the idea of lengthening to the idea of spiral, in the context of a connection "earth to sky", is the basic principle of kinomichi. This is central to my teaching in the work of body and in my technical classes for dancers, and workshops for actors and singers. The studies and inspirations sources of my work are: - The American school of movement analysis of Alwyn Nikolais - (I studied with M. Nikolais during the year 77) - The German school movement analysis of Laban-Joss - (through the teaching of M.Jean Cebron and M. Züllig in Wuppertal) and - the study of Mary Wygman’s work - My experience in dance-theatre through the work with Pina Bausch - My experience as an actor in my work with the director B.C. Kosminski - My experience in theatre work with the director Yoshi Oida and - the actors from the Schaubühne of Berlin - My experience in opera through my work with the singers of the European Academy of - - - Music for the Aix-en-Provence Festival of Lyrical Art and in the opera „Leonard da Vinci - in Rouen - Work for body and movement through the Kinomichi of master Noro and Tai-Chi. The technical class start with a placement work as mentioned before. Technique about the "atelier work" for composition and improvisation After a "mise en corps" composed by myself from exercices inspired of the warming up and preparation work issued from various body work techniques (dance, Tai chi, Kinomichi, Feldenkrais), the class is followed by the workshop part. The workshop part is based on the study of movement analysis first from an abstract point of view. Five basics elements support this movement analysis. Those five elements are: - The Form (a material structure, solid and filling up a certain volume into the space) - Space (the scenic space into whitch the dancer or the actor will evolve, from this point - starts the notion of motion into space) - Motion (considered as the bridge between a form and another with the differents qualities - of energy which characterize it) - Timing (rhythm and the choice of intervention which can be fixed by the choreographer - or be opened to the interpreter in improvisation). - The rest and essential thing (or "the little flower" from Zeami)... Each of those elements is studied separatly; then in connection with each other. First of all from an abstract point of view (a form representing only a geometric structure by example) then closing more to a every day life situation (for example considering a fashion show pose as a form). From this base a use of movement and gesture evolve, which integrates itself into dance, dancetheatre, theatre or opera. The largest part of this work is based on improvisation and composition, and start to take his sense after a certain period of at least five days of work... A workshop exclusivally reserved for dancers will be different than one open for actors and singers but experience has shown that a mixed workshop enables the participants to discover certain forms of expression which do not belong to their usual vocabulary. |