Other Expressionist Influences: Partnering

II
Introduction
Today we will review Wigman's concept of technique which differ from Laban's ideas about the organization of movement in space. Thus, her new dance sought to gain freedom of movement, which is why the dancers focused on expressing their emotions more than on the artistic technique. Today, we will address "partner dances", which are dances whose basic choreography involves coordinated dancing of two partners, as opposed to individuals dancing alone or individually in a non-coordinated manner, and as opposed to groups of people dancing simultaneously in a coordinated manner. We will try to turn partner dance into expressionist.
III
Learning Objectives
- Understand the application of the idea of "dance discovering its own terms of expression" (1)
- Explain how "liberation from traditional, predetermined steps" helps the dancer to develop body expression
- Gain awareness of the possibilities that "honoring an internal sense of motion" brings to the dancer's expressive movement.
- Experience the body's inner "rhythm and expressive gesture" to develop your own sense of "depth and sophistication" when dancing
- Reflect on the work done in class
IV
Main Lesson
1
Students decide who would be A and B. A creates a move and B distorts that move. Then, the switch roles.
Students recreate the same movement individually.
The
same happens with a second, third and 4th move as they also propel
their partners into a transitional move from movement to movement.
They add their 4 moves to their previous phrases.
VI
Reviewing Phrases
Solo: Cube, Kinesphere, Patterns of Connectivity, Emotions, Partnering
Ensemble: Directions, Breath, Movement Components, Wigman's Clusters of Movement
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VII
Case Studies
LINKS
a)
This creative process seems to have had considerable influence over Jooss for as a choreographer he too worked through improvisation to generate dance material – for example Jooss recalled Ernst Uthoff’s contribution to the creation of the role of The Standard Bearer in The Green Table: “He got very excited about that dance and often tried out movements with the flag, what he could do with the flag. I didn’t invent all those movements. They came from his enthusiasm for the flag […] he found one movement and then another and my work was to put them properly together and to balance them and to set the accents where I thought they belonged.”9 Unlike Laban Jooss’s use of improvisation was supported by a strong dance technique developed after his time with Laban during the mid 1920s-early 1930s.
Question 4
Based on the reading above: how was improvisation an important aspect of the creative dance process?
b)
Video
The Green Table by Kurt Jooss
https://youtu.be/t5BUkCd2Hfw?si=FUtsi0WosqpCWPP6
The Founding Father of Tanztheater
Question 5
Strauss (2024) says:
It was this sense of injustice that fueled Jooss’ artistry and led to a new form of dance theater, which paved the way for the work of Pina Bausch and choreographers working today, like Suzanne Linke and Mats Ek.
Question 6
After watching The Green Table (video above), what would you say is new about the piece as dance-theater?
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VIII
ACTIVITY
Solo Work
Think about the "why" of your dance. Is there a story? What are you trying to say?
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and development of modern dance. https://icc-online.arte-ct.ro/vol_06/32.pdf
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