The improvisation trip 1. 'El viaje improvisado 1'.

Seleccionado en la convocatoria: Ayudas a la innovación e investigación educativa en centros docentes de niveles no universitarios, Gobierno de Aragón 2009-10

Educación integral mediante el contact improvisation.

Resumen tomado de la publicación. Monográfico con el título: Competencias básicas en el marco de la convergencia europea

Instrumentos de observación ad hoc para el análisis de las acciones motrices en Danza Contemporánea, Expresión Corporal y Danza Contact-Improvisation.

Resumen tomado de la publicación

Drama and improvisation.

Incluye cincuenta y seis actividades para clase que requieren una preparación mínima, que van desde la más corta y menos exigente hasta actividades más largas y complejas y que culminan en una serie de sketches dramáticos o esbozos de dibujos. Este recurso se ha concebido para animar las clases de inglés con actividades de teatro que activen la imaginación y la creatividad de los estudiantes.

Chamber : dance improvisation, masculine embodiment and subjectivity

[No Abstract]

Building movements: directed improvisation performances : conversing with buildings; assisted falling

For these performances, the new Design Hub building will play the role of architectural surrounds used as spatial research devices, architectural agent and collaborator – by giving the building our attention we aim to bring it and its affordances explicitly into the collective body. In exploring the set of interlinked spaces in the Hub (with an emphasis, we propose, on the stairs) as “elaborately structured pretexts for action” , we anticipate that the beginnings of an approach may emerge and allow us to understand that when a person “flexes her muscles, a person [also] flexes her surroundings”. Arakawa and Gins offer ways to assist us in approaching architecture as a tentative constructing toward a holding in place – in which all modes of sensing and scales of action are exercised – through their notions of ‘architectural surround’ and ‘architectural body’ garnered from chapters ‘Notes for an Architectural Body’ and ‘Architectural Surround’ (Gins and Arakawa, 2002).

Sensing the story: structure and improvisation in writing for performance.

This article discusses the process of writing through devising in performance. It takes as a case study Apart of and A Part From in which muscle and sense memory – touch, smell, taste, sound and sight – were the points of departure for a contemporary performance piece on migration and identity. This was a practice-as-research project aimed to better understand the artist’s body (myself) in improvisation with memory fragments. Working from a non-verbal frame the writing experience began as actions in space, then new memories in my body, to maps on paper, to key word and some staging patterns, to systematic capturing of the textual, rhythmic and spatial structures in the emerging 30-minute performance. Various objects were incorporated to give aesthetic coherence of the piece. The article reports on the processes of writing in action, the writing and performing as lived experience and how the writing emerged from the spaces in between – self and other, self and object, self and space, present self and past self.

Open House : Improvisation evening. Improvised reading

Within the Improvisation practices Symposium over ten day from Nov 27 - Dec 7 , Critical Path and director Margie merlin held a series of workshops and performance. Within this program I was invited to perform on the last evening of the symposium within a 1 hours program of improvised performances

Seminars on improvisation

These seminars will involve exercises, guided improvisation and improved performance that bring together diverse practitioners from different communities (across 4 continents) formed/informed by different contexts and histories to provide a focused and rich platform for engagement. The aim of the seminars will focus on clarifying what Andrew, Jondi and the participants mean by improvisation, how we use it, what are its dimensions and what do we imagine its future to be. The workshops will encompass experiential, anecdotal, theoretical and philosophical pathways, in no particular order.

Does improvisation lead to outcome deviation? A conceptual framework of improvisation, its antecedents and outcome deviation

Management and organization literature has extensively noticed the crucial role that improvisation assumes in organizations, both as a learning process (Miner, Bassoff & Moorman, 2001), a creative process (Fisher & Amabile, 2008), a capability (Vera & Crossan, 2005), and a personal disposition (Hmielesky & Corbett, 2006; 2008). My dissertation aims to contribute to the existing literature on improvisation, addressing two general research questions: 1) How does improvisation unfold at an individual level? 2) What are the potential antecedents and consequences of individual proclivity to improvise? This dissertation is based on a mixed methodology that allowed me to deal with these two general research questions and enabled a constant interaction between the theoretical framework and the empirical results. The selected empirical field is haute cuisine and the respondents are the executive chefs of the restaurants awarded by Michelin Guide in 2010 in Italy. The qualitative section of the dissertation is based on the analysis of 26 inductive case studies and offers a multifaceted contribution. First, I describe how improvisation works both as a learning and creative process. Second, I introduce a new categorization of individual improvisational scenarios (demanded creative improvisation, problem solving improvisation, and pure creative improvisation). Third, I describe the differences between improvisation and other creative processes detected in the field (experimentation, brainstorming, trial and error through analytical procedure, trial and error, and imagination). The quantitative inquiry is founded on a Structural Equation Model, which allowed me to test simultaneously the relationships between proclivity to improvise and its antecedents and consequences. In particular, using a newly developed scale to measure individual proclivity to improvise, I test the positive influence of industry experience, self-efficacy, and age on proclivity to improvise and the negative impact of proclivity to improvise on outcome deviation. Theoretical contributions and practical implications of the results are discussed.

Mus Hs 2230 - Improvisation : Fantasie für Orchester

[von Aloys Schmitt]