Dec 2 - Week 16 - Meeting 27 / Self-Assessment: Quiz

 

Please, answer the following questions in your own words, using: common sense, previous knowledge, class experience and the content of our blog posts.

 

QUESTIONS 

 

1. We studied the different Afro-moves from the creolized Yoruba pantheon. What did this movement- system add to your repertoire of expressions?

2. In our class the study of shapes facilitated a new set of movement possibilities. Explain.

3. How do relationships (body parts, body to body, body to space) enhance the overall expressive capacities of the body?

4. Balance and off-balance body explorations were used to develop what? Why is it important?

5. A theme and a variation of the theme provide the dancer/performer with an important tool for developing new vocabulary. How did this resource help you with the creation of your own work?

6. How do concepts such as constructure, structure and substructure relate to each other in the context of performance oriented creative movement?

7. Every story has a super-text.  Describe the way in which you elaborated your text, context and subtext for your piece's supertext?

8. The compositional forms (ABA, Rondo [ABACADA], Narrative and Rapsodic) gave your ensemble a fresh boost in terms of expanding your group's choreography. How can this experience influence your overall ideas about dance/movement composition?

9. We saw Julia Varley, the voice specialist of Odin Theater, explore her voice range using the word minotauro. Based on Varley's demonstration and our in-class voice exercise, you were invited to create your own voice score for your solo piece. How was this challenging? Why?

10. In class, we followed Davidji's guided meditation about archetypes. Davidji is a globally recognized mindbody health & wellness expert, mindful performance trainer and meditation teacher. How was your study of the archetype useful in the creation of you solo?

11. In which way is the system of wants necessary for the actor to tell his/her own story?

12.  How was the hero's journey a useful device in the creation of your solo's dramaturgy?

 

 

 

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