18.-22.07 German Jauregui- Ultima Vez Vocabulary (adv*)
This workshop investigates the versatile material from various pieces of Ultima Vez. German go through the movement concepts from warm-up to the Repertory. In this process, he emphasises the IMPULSE of getting moved. We can also call it (勢) In Ultima Vez language, movement should be momentum. From one to the other are driven by the last move. How the spine/ shoulder/ head/ hands/ legs take the lead, and how the turns become opposite at some point. All are preparing for the next movement.
On the second half of the week, Jauregui shared how a “tired body” moves The impulse and flow of the move is the moment “tricks” of how to drive a tired body to on moving status. And moving from the flow to sensations, Jauregui guides us to focus on the sentiment triggered by the movement. For the application of this vocabulary, I look forward to their performance.
18.-22.07 Marta Coronado Tools for a Thinking Body - Advanced Plus
thinking through leveling: lie/ low/ middle/ standing; rhythm; rules for group improvisation (combination) and pause
About pause, the question is: How to suspend?
Question to self: what have I done? What can I do next? How do I feel at this moment?
different wait to start over:
25.-29.07. Jassem Hindi- Ghost dancer - Open Level
how sound acts as the “ghost element” in theatre
25.-29.07. Angélique Willkie- Release Technique - Advanced
Dancing as sharing breathing in space
01.-05.08. Shinichi Iova-Koga Butoh – Deconstruct the Darkness - Open Level
Every breath is a step closer to death
Iova’s is a hybrid of American and Japanese. His method of approaching Butoh starts from the body shape. Unlike the typical Butoh training starting from narrations, he guides the participants through his training routine on the body. Then starting from the slowness and embodiment reactions, he encourages each of us to create our journey through partnership/ individual experiment.
01.-05.08. Peter Jasko- Spontaneous Composition - Advanced Plus
Originally, Jasko is a classical dancer. After working for serval years, he finds it more interesting to work on improv. Interestingly, as an experienced, well-trained dancer, the lesson he learnt from the improv process is about failure. How to accept the group does work at some point/ how to work with the collectives with different body language and characteristics, these experience has become part of their work. The existence on stage becomes the form naturally.
During the workshop, we start with freestyle with a variety of music changes. Then we are divided into two groups, one dance and one observation. When we observe, we have to question what we see/ observe, not just receive. The energy change in the room and connection establishment with the “partners” are highlighted in the discussions.
The workshop group has a generous vibe on accompanying/ respecting their own space.