265 resultados para IMPROVISATION
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A site-specific solo dance work created and performed by Dianne Reid. The work interacts directly with the audience who must move in and around the dance action in intimate and non-traditional performance locations. The dancer creates the performance in real-time, improvising her movement and text in response to the location and the particular audience members she encounters there. The work also incorporates projected video imagery using the skin as projection screen, and a unique soundscape is created for each performance drawn from the music and effects library of SA composer Stuart Day.
Resumo:
A site-specific solo dance work created and performed by Dianne Reid. The work interacts directly with the audience who must move in and around the dance action in intimate and non-traditional performance locations. The dancer creates the performance in real-time, improvising her movement and text in response to the location and the particular audience members she encounters there. The work also incorporates projected video imagery using the skin as projection screen, and a unique soundscape is created for each performance drawn from the music and effects library of SA composer Stuart Day.
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A performed conference presentation incorporating dance, video projection and spoken word.
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The solo WORK represents an investigation and inquiry into hybrid practice and performance in dance. WORK is the product and register of the author's Master of Arts by Research project undertaken at Deakin University (2010-2012). The embodied inquiry into the nature and potential of hybridity begins and returns to the body in both the physical and written performances. Rather than viewing hybridity and the hybrid body as a pastiche of poorly understood practices, processes and aesthetics, this investigation proposes the hybrid body and practices as one of positive expansion, inquiry, and development for both art form and artist alike.
WORK developed a new approach to movement practice and performance through a solo performance that used physical paradigms of endurance and work to integrate the normally divergent movement practices of contemporary dance, circus and improvisation. Through experiments of endurance in practice and performance WORK engaged in an experiment that placed the author's body as researcher, dancer, choreographer, performer, acrobat and more into the centre of her inquiry. The author's inquiry posed questions as to the potential or otherwise of the hybrid body in the creation of an individual idiom in dance, and challenged bodily endurance in solo performance practice.
This was a performance demonstration of what training-practice, performance-practice and performance might be from a hybrid perspective and also the physical and psychological performance of WORK. WORK is presented as functional, critical, challenging, demanding, and as an endurance event.
The discussion post performance focused on a new choreographic methodology (Studio-led practice as research for PhD study) for extending the potentiality of hybrid work physically - looking forward to removing bias and habitués and potentially creating a new paradigm aesthetically, physically, practically and critically.
Resumo:
Steph Hutchison's solo WORK is fuelled by an interest in pushing the body to its physical limit. A hybrid performance, interweaving dance, circus arts, improvisation, sports and theatre, WORK is inspired by the physical journey of Julie Moss. In 1982, Julie Moss competed in her first Ironman without ever completing the total distance before. What began as a lark became a struggle for survival and a test of human will. Each time she felt like quitting, she thought it was her 'ego trying to self-sabotage,' but her real self was 'that voice that said; "just keep moving forward. There is no limit." Hutchison explores the notion of dance as extreme sport and emphatically engages her body in rigorous physical practices. Her attention is to muscularity and the performance of effort, work and labour, to the point of physical exhaustion. Using circus apparatus such as tissu, rope and acrobatic mats, Steph pushes to and beyond the limits of her physical ability during the performance. In preparation for the show, she puts herself through intense bootcamp style training, classical and contemporary dance training and teaches herself new acrobatic tricks. Her aim is to push herself past exhaustion to another level.
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A new performance work in the series titled "Dance Interrogations" which explores and responds to a specific site and a moving audience through dance, spoken word, improvisation and projected screendance imagery.
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Two improvised performances of five hours duration each with nine dancers responding to the environment and interacting with spectators within the red train in CERES environmental park.
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Three dancers moved between and into Lake Bolac’s historic and community buildings dancing in each building. A series of transient micro-dances intimately inhabited the spaces themselves, stirred by the qualities and impact of the architecture. Evoking ghosts of the past but also inviting fresh eyes for these spaces, the mingling of past and present was embodied in the presence of the performers as they traversed the township of Lake Bolac.
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A multi-disciplinary, site-specific performance which moved between several spaces in the Courthouse Arts building. The work combined improvised dance, choreographic practice, video projection and sound which utilized and computer-manipulated the Federation Handbells.
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Taken from the festival program : Clock It is a series of 20 short dance solos presented by 20 performers. The entire event runs like clockwork with selected soloists showcasing their choreographic ingenuity in 2 minutes and 30 seconds. Dancers are accompanied by musician/sound artist Michael Havir. Curated by David Wells
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A solo performance work incorporating live dance, spoken word and projected video.
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Thi article explores outcomes of practice-led research. Discusses application of somatic movement, dance education and Body-Mind Centering® practice principles for physical preparation of dancers, contact improvisation, choreographic research and dance pedagogy.
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This article examines some of the tensions implicit in performing in peace contexts. Drawing on the community-based performance form playback theatre, the article interrogates the (citizen) artist/performer within the demands of improvised performance. The article investigates the demands on the actor in a practice context that features refugee and asylum-seeker audience members/participants: the way in which performative risk, the risk of intimacy, the risk of getting it wrong and the risk of shaming self and other are considered in light of the challenges associated with the specificity of the ethnicity, cultural context/s, values and protocols of these audiences.
