Sep 11 - Week 4 - Meeting 8 / Relationship: Proximity, Direction & Performance Space

 


 

I

 

Unit: Relationship

Theme: Proximity, Direction & Performance Space


Introduction

 Last class we explore energy and its many elements. Today we will experience energy by creating lots of movement and suddenly stop. We use the drum to keep moving and to then stop suddenly on a louder bit. The overflowing filling of self-contained energy ready to burst out our bodies gives a sense of how much energy we have. However, another way of illustrative energy is through relationships.

In dance, relationship refers to the connection between dancers and the space, time, music, and other dancers. It can also refer to the connection between a dancer and their body parts. The elements of dance relationships are: proximity, direction and performance space. Proximity refers to the physical distance between dancer; direction refers to the direction a dancer is facing in relation to others and performance space refers to the use of different areas of the stage to communicate meaning.


--------------------------------

II

Learning Objectives

 

  • Understand the meaning of relationship in dance
  • Explain how the use of proximity allows our movement abilities and choices in regard to others
  • Gain an awareness of the possible  locomotive advantages generated by direction when moving in the space
  • Experience the performance space through a choreographed movement ensemble phrase


III

Main Lesson


1

Isolation WarmUp

 

2

Movement Exploration

 

Students work in pairs and explore movements that use proximity, direction and performance space.

 

 Question 1

Write a reflection on your experience.

 

3


 Question 2

Explain in your own words the meaning of proximity in regards to body relationship? 


IV

A Note to Remember

There are relationship techniques such as canon, complementary, accumulation, counterpoint and question and answer. Canon happens  when dancers perform the same phrase but start at different time. Complementary means that dancers perform similar but not identical movement. Accumulation takes place when dancers add one movement to a phrase until the full sequence is complete. Counterpoint is when dancers perform individual movement sequences at the same time. Question and answer requires for dancers to perform movements that are then contrasted or complemented by the rest of the group.


V

Case Study

Ryszard Cieslak
 
 
Ryszard Cieslak was born on March 9, 1937 in Kalisz, Wielkopolskie, Poland. He was an actor, known for The Mahabharata (1989), Rekolekcje (1978) and Akropolis (1969). He was the leading actor of Jerzy Growtowsky's theater ensemble. He died on June 15, 1990 in Houston, Texas, USA.
 


Question 3

According to Ryszard Cieslak, why is important to train the body?


Question 4

Based on Ryszard Cieslak's demonstrations in the video, what is "plastic" when applied to body work?"

 VI

 

Activity 1

Experience proximity and its opposite by pairing with a partner and exploring getting close and getting distant.

Explore what is like to use relationship with your partner's body (via proximity and direction) as an obstacle to develop awareness. Share your experience.


Activity 2
  

To their previous ensemble phrase, students add their new phrase. 

 

Closing 

Review & Share your phrases. 

Students share their work with the class after adding to their choreographic structure (of two movement phrases) their new phrase.

 

VII

Journaling

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 VIII
Glossary
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 IX

Sources

 Eastern and Western Influences on Performer Training at Eugenio Barba's Odin Teatret by

Ian Watson. https://www.jstor.org/stable/1124022



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