Schlagwort-Archive: Improvisation

Susi & Gabi’s Salon #4 The A-word: Ageing

Salon Guest: Amos Hetz
04.09.2011 at Tanzfabrik Berlin

Amos Hetz is a dancer and movement teacher, looking for expanding his movement vocabulary through the use of the Eshkol Wachman Movement Notation and the heritage of the somatic learning. He composes solo dances, dance-collaborations, and movement games. For the last 22 years he was artistic director of the „Room Dances Festival“ in Israel.   
Amos: „I understand my movement apparatus as a big orchestra of many limbs, in which each limb has its own character. It is calling me to listen to my imagination, as well as to my memory, and to my movement interests that are moving as well. The interest in the small gesture, and in the coordination between the different limbs is the motive behind all my movement activities: performing, teaching and conducting dance projects. I am swinging between the integrated movement and differentiated gestures. This process of moving my awareness from the extremities to the spine and to the shift of weight is bringing me closer to be one.”

Notes from Gabi & Susi, taken during the Salon
Born 1933 – Still dancing
Vexation
Can I say ‘old’ performer or is it rude? old = mature?  – young = immature?
Something about time and presence – Something about just looking interesting in whatever you do, because there is some life experience behind it  – Something about not being so influenced by others anymore
Vexation
Amos is dancing behind the pillar, choreographing perception, resonance – What do we do when we run out of time here? – Everyone wants to be 27 and wise and beautiful – The perception of time: Is one’s perception of time relative to one’s own age? – Interest in the small, the less  – When is an artist old? What does old mean? – The anxiety of not being fulfilled gives the sense of feeling late
Vexation
„I’m already concerned with ageing at 31“ – Velocity, speed – is there space for ‘Entschleunigung’? – Still dancing: Anna Halprin, Steve Paxton, Simone Forti, Deborah Hay

Background
Susanne: I love to see older people on stage, and I would like to become one of them myself. There are several ways to contribute to that. One is that I’m looking for ways and strategies for myself that allow me physically and creatively to keep going performing dancing as a life long practice. Another is that I’m studying the strategies and underlying concepts and ideas and circumstances of older performers who have an improvisational focus in their performance work. Because that is the field I’m working in and know the most of myself, and that is the field where I met the most exciting artists and choreographers. One of them is Amos Hetz. I met Amos through one of his choreographic projects, “Vexations” in which I participated twice (1997? and 2010).
During Vexation I experienced him as an old artist with a very specified and detailed aesthetic and interest, who nevertheless invites performers very different from himself to collaborate in his performance score. And the score he proposed, although tight and rigorous, still had gaps and spaces for our divers choreographic practices. I experienced the whole 12-hour performance, not only as a composition and meeting of all our aesthetics and motivations, but as an active negotiation between all of us. But especially between him as the director and us bringing along our own individual universes.This openness and effort of negotiation and dialogue seems to me one key of how to keep a dance practice alive through decades, through changing fashions and changing artistic values.

Susi & Gabi’s Salon #2 Berlin

100 Fragen an die Improvisation
Salon Guest: Andreas Albert Müller
04.06.2011, Tanzfabrik Berlin

In der zweiten Ausgabe ist Andreas Albert Müller aus Berlin zu Gast, den wir gebeten haben, etwas von seiner Auseinandersetzung mit Rosalind Crisps choreographischen Methoden vorzustellen.
Tanzen aktualisiert sich dauernd durch tanzendes Befragen, Denken und Tanzen laufen ineinander. Das Bewegen spannt sich auf zwischen beweglichen Begriffen vom Bewegen. Als Fortsetzung des Marathons „THEY STILL SHOOT HORSES.“ wird am 5.8. zum Stromereien – Festival in Zürich „Sog“ zu erleben sein: Mit R. Crisp, B. Wiget, L. Archetti und Müller.
‚The rules are made for when you don’t know.’ A. Morrish
More about Andreas:
www.myspace.de/beidemessies
www.myspace.com/happysystem

Susi & Gabi’s Salon #1 Berlin

Salon Guests: Hodworks (Budapest): Emese Cuhorka, Júlia Garai, Júlia Hadi, Adrienn Hód, Csaba Molnàr
08.05.2011, Tanzfabrik Berlin

Salon5.11.1 Salon5.11.3 Salon5.11.7
Salon5.11.6 Salon5.11.8 Salon5.11.5

100 Fragen an die Improvisation

Ein Salon in dem sich Gabriele Reuter und Susanne Martin auf verschiedenen Pfaden dem Phänomen der Improvisation widmen: praktisch, tänzerisch, theoretisch, mit Zuschauerbeteiligung oder mit geladenen Gästen.
„Wir verstehen unsere 3 Ausgaben bis zum Sommer als Pilotphase, wollen verschiedene Formate für Auseinandersetzung und Austausch erproben, zwischen Chaos und Plan, Spiel ohne Grenzen, Imprographie und Choreosation, nie gestellten dummen Fragen und beeindruckendem Spezialistentum.“
In der ersten Ausgabe ist die Gruppe HODWORKS aus Budapest zu Gast, die gerade eine dreimonatige Residenz in der Tanzfabrik Berlin haben und sich in  ihrem Projekt „Daily Routine“ zwischen Improvisation und Choreographie bewegen. Das Showing „Choice“  im Radialsystem am 2o. Mai um  17.00 wird die  Residenz von HODWORKS in Berlin beschließen.

HODWORKS was founded by Adrienn Hód in 2007. Besides permanent members the company also invites performers from different fields of art.
The work is based on a method invented by Adrienn Hod, which focuses on the creation of new forms of movement and dramaturgical principles. Her pieces are presented in theatres as well as site specific venues.
www.hodworks.hu

 

What’s my teaching about … in 2011

My teaching today derives from my experience and ongoing practice as performer and performance maker, and my own ongoing training in dance and improvisation. Apart from this it is influenced by my education as dance teacher which I gained at Rotterdam Dance Academy (today called Codoarts) and  the two year process of completing my masters degree focussed on solo performance at HZT Berlin. Following are some of the central key words for my teaching practice and the learning process I support. Generally my dance practical teaching falls into the categories contemporary dance training, improvisation, contact improvisation, composition, performance making, performer training, instant composition.

Objectives
Gain Knowledge:
About the body in movement, about what improvisation and composition might mean, about the narrative act of performance

Enjoy the Practice:
Of moving, of improvising, of performing through playfulness and challenge

Develop and Refine Skill:
Dance skills, improvisation skills and contact improvisation skills, skills for realising a performance, skills for being on stage

Support and Train our Dance Bodies:
Through a work-out that warms and energizes, strengthens, stretches, activates, releases, and allows for enough individual variation and adaptation to help us through ever changing states of health, energy, injury, impairment, and well-being

Focuses and tasks in class
Movement:
Ways of warming up the dancing body, contact improvisation skill work, body work, use of gravity and momentum, 3-dimensionality / back space, folding / extending, modulating effort and dynamics, developing somatic and kinetic intelligence, integrating structurally effective and non-damaging movement patterns, broadening ones movement vocabulary and ability for differentiated and articulate dancing
Emphasising improvisational structures to work these themes

Composition – Choreography:
Scores. tasks, and themes for dance making, solo, duet, group work, reflecting aesthetic elements and preferences in what we do and see, studying choice, chance and necessity, organising the moving body in time and space

Performance – Narration:
Perform for each other, watch each other, frame and compose presentations in different ways, play with theatrical means beyond the body such as objects and costumes, include imagination, fantasy, storytelling, use of voice, what makes sense? what creates coherence? What affects and in which way? What’s the story of this performance? reflect / talk / write about the performances we do and see
Emphasising improvisational structures to work these themes

Work Formats:
Solo / duet / group explorations, contact improvisation, somatic hands-on work, response and feedback structures, devising, structured practice and reflection

Terms
Improvisation: My work as performing artist is strongly informed by the practice of improvisation and contact improvisation and even in my set works I’m looking for openings that allow direct and fresh exchange with partners and audience.

Artistic research: Apart from the shared processes of searching, developing and reflecting with partners in productions, courses, studies or research groups I understand it as a  very individual process  of tracking my own motives and questions that allows to move the plenitude of experiences to a more abstracted level of conscious learning / understanding. It is an individual process, no matter with how many people and in which kind of working structure I  find myself inside the field of dance.

Narration: When I consider performance as a narrative moment I am interested in questions of Vermittlung, approachability and intelligibility. A general question my teaching is concerned with is the relation and the possibilities between intrinsic movement, also called abstract or pure movement or dance, and the narratives of the moving body, build by layers of meaning, offered or subverted consciously or undecidedly, shared between the performer and the person watching. What is being told, what is being understood, what is the narrative of a piece, of a body, of a dance, of the different relationships inside the performance space? In class I’m interested to explore and reflect these questions through our performing.

Solo: I consider the idea of solo as a lonely (and therefore maybe even cathartic) process to be a myth. I did quite a lot of solos through the years, but it only started to be a satisfying and constructive form that I could build on, when I found working structures that included one or several partners, witnesses, coaches, collaborators, peer soloists…….The really interesting point is how to create these kind of collaborative structures that bring the individual solo forward. And this I want to share also in my teaching.

Work Formats/ Working Methods: I am very fortunate to regularly follow my solo performing interests and my passion for working collaborativly in long term partnerships. I also enjoy to perform under the guidance of a director as part of a contemporary theatre group. Drawing on these experiences, I guide students to explore different collaborative working formats, touching on concepts like consensus / plurality, feedback / coaching, division of tasks / hierarchies. The formats we explore will hopefully help dancers and performers to start building their own constructive collaborations and artistic futures.

 

Rosi bei Freistil – Die Kunst der Improvisation (2008/2009)

„Material zu Rosi tanzt Rosi“ Eine Soloimprovisation

Freistil at Tanzfabrik Berlin 6. 4. 2008

Was macht Tanz lesbar für die Zuschauer?
Was ist der Text eines Tanzes?
Wie erhalte ich meine Freiheit in der Improvisation, wenn ich mit klaren thematischen Grenzen und Narration arbeite?

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“Neuigkeiten aus der Rosi-Welt“ eine Improvisation von Susanne Martin

Freistil at Tanzfabrik Berlin 3.5. 2009

 

“Rosi tanzt Rosi“ ist ein Solo Projekt, dass sich durch 2 Jahre Masterstudium zieht und auch mein Abschlussstück bilden wird.
Für Freistil gibt es das Neueste von Neuen aus Rosis Welt.