АТЕЛИЕ: Poetic Movement – working with the wisdom of the body със Стивън Батс (Северна Ирландия)
20 май, 2023 – ENG bellow-
11:00 – 13:00 в Камерна зала на Национален Студентски Дом.
Отворен клас за всеки интересуваш се от движенческа и композиционна импровизация. Това е еднакво полезен клас за любители без опит, както и за професионалисти в танца и театъра.
Регистирайте се тук: https://forms.gle/gDcuk8Yx25Jjiay88
или просто елате на място.
Вход с дарение между 15лв – 30лв или сума по желание.
Работен език е Английски с превод на Български при нужда.
Ще проучваме внимателно, детайлно, практически и концептуално широка гама от “параметри” на танца, като ще позволим непрекъснато и последователно това, което откриваме и учим, да се връща обратно в нашите интуитивни композиционни процеси като индивиди и в групи. Аналитичният материал е там, за да освежи и обогати танца, а не да го обясни. Той е там, за да ни помогне да композираме неповторими, дълбоки предложения и покани в поетичното движение. Практиката ще бъде дълбоко импровизационна, композиционна и забавна.
Основната област на изследване ще бъде: Присъствие. Време. Пространство. Те никога не съществуват отделно, но ще ги донесем на преден план по различни начини чрез изследвания.
БодиМелд, в партньорство с творческа студиа “Студентина“ и Национален студентски дом, представят серии от ателиета фокусирани към движенческата и вокална импровизация с преподаватели от САЩ, Италия и Северна Ирландия.
Всяко ателие е подходящо както за професионалисти в сценичните изкуства така и за любители и всеки интересуващ се от движение, работа с глас, текст, движенческа импровизация и инстантна композиция.
Проекта се осъществява паралелно с BodyMeld Performance Research Academy, интернационална академия за професионалисти в сценичните изкуства, която се случва с финансовата подкрепа на Национален Фонд “Култура”.
We will explore, in rigorous, detailed, practical, and conceptual ways, a wide range of “parameters” of dancing and we will continuously and consistently allow what we discover and learn to fall back into our intuitive compositional processes as individuals and in groups. The analytic material is there to enliven and enrich the dancing not to explain it. It is there to help us to compose irresistible, profound proposals and invitations in poetic movement. The practice will be deeply improvisational, compositional, and playful. I can say from experience that it will almost certainly be both demanding and fun for everyone.
The fundamental area of exploration will be: Presence. Time. Space. These never exist separately but we’ll bring each of them into the foreground in various ways through exploring.
Register here: https://forms.gle/gDcuk8Yx25Jjiay88
or just show up for the workshop.
The workshop is led in English with translation to Bulgarian if there is a need.
Stephen Batts about his work and approach:
I have been dancing as a central and professional, part of my life for around 40 years. I have been teaching, performing and creating internationally for many years.
I am based in Derry in Northern Ireland where I am the artistic director of Echo Echo Dance Theatre Company. The company creates a wide programme of productions, touring, participation projects, classes, workshops and artistic collaborations. We work with a wide range of people including all ages from babies to old folk and those with all kinds of disability as well as with experienced and professional dancers and other performing artists. Part of our programme takes place in our own studios on Derry’s historic city walls. The rest involves various forms of outreach into different local, national and international communities.
My family moved to Northern Ireland from England when I was 12 and I grew up there in the 1970’s. It was a turbulent time, with ever present political tension and violence, even in the relatively quiet area that I lived in. I left after school to study in England. I got a degree in Politics, Philosophy and Economics from Oxford University, but by the time I finished there my life had become devoted to movement and dance. I spent three years in full time study to be a teacher of The Alexander Technique. I’ve been a certified teacher of The Alexander Technique since 1987.
After creating companies and projects in both England and Netherlands I set up Echo Echo Dance Theatre Company, in Amsterdam, with Swiss dance artist Ursula Laeubli in 1991. We created performances and projects all over Europe, particularly in the countries of post-communist Eastern Europe. We moved the company to Derry in 1997, near the beginning of a “peace process” that has now been going on for over 25 years. Ursula died in 2011 and I have been the artistic director of the company on my own since then.
My work is concerned with proposing an alternative to both the hyper-objectivising attitude typical of much dance training and to the hyper-subjectivizing attitude typical of somatic alternatives to it.
In one form “the body” as an object, a machine, an instrument, or a tool, is at the centre of the conception of what we do when we dance. In the other “the body” as a location of private subjective experience is at the centre. The second is often a sort of understandable reaction to the inhumanity of the first.
I see dancing differently, from another perspective, outside of this dichotomy.
* I think people dance, not bodies.
* I prpose that dancing is real movement in real space and real-time engaged in with poetic intent. It can’t be reduced to feeling, sensation, idea or physical function.
* A dance wants to make sense, in the world, between people. Dancing, in it’s very nature, wants to be seen, to be “read”, just as a poem wants to be read or a piece of music wants to be heard.
* The intent should be to take armour off, not put it on in either it’s hard, aggressive, athletic, form or it’s soft,defensive, absorbent, form.
The seed of dancing is in the universal human tendency to be poetic in movement, just as the seeds of poetry are in our everyday language. *
* Dancing is the extension of this tendency as poetry is the extension of our poetic tendency in language.
The compositional sense, in movement as elsewhere, is intuitive, organic and natural, but so is the desire to educate, refine, tune that intuition through disciplined forms of practice.
Being in the moment always involves a deep relationship with past and future – memory and imagination.
Improvisation and composition are more like two perspectives on any phenomenon rather than two different things to “do”.