DEEP MOVEMENT CONSCIOUSNESS
The workshop is more of a creativity class than a dance class. Because of its nature, it is an open level class for professional dancers and movers alike. Rather than teaching form, the class focuses on expanding one’s artistic self-awareness. The class begins with exploring qualities such as rebound, flow, fractions, and shaking to reach a state beyond self-judgment and self-limitations. Here we will work within the gap between power and fragility. After waking up the body and mind, we will focus on isolations and polyrhythmic exercises to root back our focus. We move with the intention of never going back, developing one’s fearlessness and ability to trust each instant’s potential to lead somewhere. We give ourselves the necessary time to tune into our body’s intuitive intelligence to solve movement paradoxes that emerge during the research process. We will facilitate each other’s exploration by working in pairs and in groups, as well as individually.
These simple open structures are simultaneously technical tools and tools for composition. We encourage the dancer to playfully explore their inner workings and personal language that result both from everyday lived experience and learned movement patterns. By opening up creative curiosity, we enhance our movement fluency. In turn, we will develop strategies to explore the space between continuity and disruption of movement ideas by naming patterns for those interested in building choreography.
DARK TALE - CREATIVE LAB
“Because these wings are no longer wings to flyBut merely vans to beat the airThe air which is now thoroughly small and drySmaller and dryer than the will.” – T.S. Eliot. A dark tale can be as magical and poetic as sombre and upsetting. This starting point has brought up many questions on the notion of meeting: meeting the other, but also the meeting of the self, of the past, of the dark truths, the ones that are too dark for us to desire seeing them. We would like that together/alone, our bodies/body will tell a story, sometimes through abstract movements, sometimes through more figurative ones.This will allow us to play with the relationship between fiction and reality, or with the truth versus the illusion. As a result of the meeting of our two artistic universes, the Field Project will mix elements from contemporary dance and performative dance. We will use tools from improvisation, choreography and our whole life experience.We desire to create a real meeting between our worlds and not submit one to the other. The particularity of Peter Jasko’s universe is expressed through very precise physical abilities that he inherited partially from folk dancing.Clara Furey’s universe is in opposition, much more performative: direct, intimate and charged.We would like to specifically focus on exercising individual practice, duet work while using our research and everyone's personal input. We will play and explore with the idea of the meeting, surpassing the simple image of the male/female relationship or of the sexual, gender related rapport.Open Dancing is an approach that we will use as well in the Field Project that allows us to address dance in a more encompassing way, as a space for meeting one’s self and the other. It is about, for the dancer, being at the same time a participant and an observer, to work at the same time his physicality in space but as well to address the space and physicality with the other dancer/dancers, and with the audience.
SPONTANEOUS COMPOSITION WORKSHOP/LAB
In the Workshop of spontaneous composition we will play with a different tools.1.How to be ready dance spontaneously in any situation without to long preparation.2.How to compose an OPEN DANCE spontaneously with different individuals in collective environment. We will use tools from improvisation, choreography and our physical experience that we carry with us every day. In this workshop I would like to specifically focus and exercise individual pracise, duet work, different possibilities of group work as well. I found a little system of, how to approach this practice in efficient ways. Workshop will demand physical ongoing tries and openness to resolve any kind of situations that will happen in the moment of this process.
RHYTM DANCE PRACTISE
We will teach a dance class based on traditional rhythms of the east of Europe. We will play with movements that belong to certain regions of the east Europe, but we will as well invent some new rhythms based on the traditional ones.Music will play a big role.We will use eastern music.This class will have a simple structure. Learning set material, and little by little developing, adding, and filling up movements, which will lead to a final phrase. All you need are the shoes to dance and stamina to survive this journey.
(related to students of the CIRCUS)
My class is working on the specific research that i have done past 10 years in the world of the dance and circus. The focus of the class is to develop and enrich a movement and creative curious thinking.My frame of the work is based on physical tools that I propose to an artist. Through my personal practise, I have discovered certain exercises, which give to an artist infinite possibilities to create and play with a body.I will work with tools such a: Dramaturgy of the transition- How to connect movements, to eliminate preparation.Isolation -How to isolate the body while being in difficult action. Discovery of the polycentric movements. Healthy and organic approach -How to use the body in the most efficient way, in order to last long and healthy, without an injury.Thinking body-how to synchronise instinct of the body and intellect of the mind to enrich creativity, develop a tools and use efficiency in the movements and ideas.Rhythm - How to work with different dynamics and how to break regularity. (crescendo, de crescendo, contrast). Work with the details, or ending of the movements- How to put the focus on the shuttle movement and gesture. I find very invisible work but 1of the most important in performance art. My inspiration for the class comes from every living moment that i sense in my life. The point of my class is to develop trust among the body of each performer and build safe conclusions to difficult actions.