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4 Intensives 2011:

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"Breathing the Moment"

Contact impro & contemporary dance technique

Mirva Mäkinen (Finland)

What makes your body feel alive and awake? For me it is dance in different forms and breathing through movement. I would like to share some contact improvisation and contemporary dance technique in this intensive.

I think body is designed by nature, or has evolved in nature. It is like landscape with great efficiency. Like landscape we are breathing and changing naturally. I wonder if we can sometimes become aware how we use breath while we move? Breathing can also spark new ideas for the way we move our bodies.

We will learn different warm up techniques, series of floor work, different combinations through the space, principals of movements, creating dancing dialogue by using breathing, touch, movement, weight and balance.

How it is to have contemporary dance technique as a warm up of contact improvisation or vise versa? What kind of way learning series of movement can influence your contact improvisation technique and how CI might change your way of moving when you learn movement phrase from someone else? How different techniques come together in your body? After learning something can we separate one technique from other? Or is it just that we learn different skills and after learning it becomes one in your body? What it is to embody something?

I am curious how do we move our center when we move alone or together with partner. How can we continue movement after loosing touch from partner? Is there any gap between?

I tell to myself to breath with all of my questions ?

Where movement is coming from and where it is going at? Is there difference when i am moving alone or with partner. I guess some part of our body is always in stillness.

Mirva Mäkinen

I am a 36-year old dancer. I graduated (MA) from the Dance Department of the Theatre Academy of Finland in 2000, before that i study masters in Physical Education in University of Jyväskylä. Afters studies I have worked widely in Finland as a dancer, dance teacher and choreographer. My true passion is in movement. This year i was chosen to study PHD in Theatre Academy of Finland. My research will be about aesthetics of contact improvisation.

From 2000 onwards I have acted as dance teacher and lecturer for dance at the Kallio Upper Secondary School of Performing Arts in Finland. I have also taught at different international dance and contact improvisation festivals. As a dancer I have worked in several different dance companies, at the moment in Karttunen Kollektiv, Circo Aero and with Joona Halonen.

In dance I am interested in the feeling of flow and soft movement. I love to investigate movement, its rhythm and different ways of inhabiting the body. A feeling of dancing is created by being able to switch the body from total relaxation to extreme intensity and tension. I call this the body’s ability to breathe and create movement. My ideal is total presence, which makes every moment true and meaningful.

"Entering the Present"

ACTION THEATER™

Sten Rudstrøm (US/Germany)

Action theater™ ist ein Ansatz zur körperorientierten Theaterimprovisation und dabei Trainingsmethode und künstleriche Praxis zugleich. Es integiert Körper und Geist und fördert den spontanen und bewussten Ausdruck. Im Action Theater™ folgt der/die Improvisierende den wechselnden Inhalten der eigenen Imagination und antwortet ihnen durch körperliche, stimmliche und/oder sprachliche Handlungen (actions).

Action Theater™ ist keine Technik, sondern eine Landkarte, ein Weg, den vielen Phänomenen zu begegnen, die in unser Bewusstsein aufsteigen. Die Improvisationsübungen sind einfach, spielerisch und herausfordernd. In Ihnen erweitern die Teilnehmenden ihre Fähigkiet, im Moment zu sein und Wahrnehmung, Gefühle, Gedanken, Erinnerungen, Imagination und Intuition zu wecken und in ihnen Ausdruck einzubeziehen. Sie erneuern ihre Fähigkeit zu spielen und gewinnen neue Einsichten von sich selbst.

Im Bereich von Bewusstsein gibt es nur wenige Unterschiede zwischen dem Theater und der Strasse. Wer wir sind, wie bewusst wir sind and wie wir unsere Wahrnehmungen und Reaktionen bearbeiten ist überall gleich. Im Studio improvisieren wir innerhalb von Formen, die für Bewegung und Theater bedeutsam sind, aber was wir lernen, berührt auch unser tägliches Leben.

Dieser Intensive ist für alle, die ihre Imagination entdecken und ihre stimmlichen, sprachlichen and körperlichen Fähigkeiten insbesondere für die Bühne erweitern möchtern. In Gruppen- und Einzelarbeit arbeiten die TeilnehmerInnen mit Übungen, die zur Erforschung der Elemente Zeit, Raum, Form und Dynamik einladen. In diesem Prozess entwicklet sich Bewusstsein von Moment-zu-Moment, der analytische Geist kommt zur Ruhe. Andere Übungen stärken und erweitern “performance skills”: Bewegung, Stimme, Komposition, Zuhören und Beziehung. Die TeilnehmerInnen vertiefen ihre Fähigkeit, Gefühle auszudrücken, ihre Imagination wird belebt und sie kommen in Kontakt mit ihrem persönlichen Material. Jede Übung beleuchtet die Beziehung zwischen Intention, Bewusstsein und Aktion and aktiviert Geist und Herz.

Sten Rudstrom

arbeitet seit über fünfzehn Jahren mit Ruth Zaporah, der Begründerin von Action Theater™, an deren Buch "Action Theater, The Improvisation of Presence," er massgeblich mitgearbeitet hat und ist einer der wenigen autorisierten Lehrer für diese Improvisationsmethode. Selbst ein erfahrener Performer, unterrichtet er diese Arbeit in den USA und Europa. Seine Workshops sind charakterisiert von einer hohen Energie und artikulieren die Entwicklung von Präsenz und einem gesteigerten Bewusstsein des "performer’s whole body instrument".

Der Intensive wird in Englisch unterrichtet, Sten spricht aber auch gut Deutsch, und es steht Übersetzung zu Verfügung.

Besuchen Sie die Webseiten:
www.stenrudstrom.com
www.actiontheater.com

"Suprising Beings"

A movement-research with bodywork, dance-impro and painting

Ingo Rosenkranz (Germany)

What does it need to let ourselves be surprised? To me it means I am in a situation of comfort and relaxation in order to be open enough to allow life to surprise me. My mind is so clever to hold me away from this almost too often. Yet in my dancing, bodywork and painting I can find these surprising moments, in general supported through a meditative state of being.

We will dive into this state with our natural desire of movement and being touched. The more natural the touch and contact is, the easier and more powerful the movement resolves. Therefor we need to communicate with our partner to find this natural meeting place, so sharings will be part of this path.

Bodywork, through which the movement might begin more from inside out, allow a personal journey into the body in response to sensitive touch. One of our greatest desires is to be in touch with another human, so we get in contact with a partner and have our dance with hands-on practices to open up our senses. This can lead into dance-improvisation, a wonderful fusion which creates a deeper dimension to meet ourselves.

A third element will be the painting, for me a wonderful tool of expressive art to show some of my inside world. In addition to this we will be inspired to move because of the way my partner is painting and we wish to paint because of watching someone dance.

We use meditation to empty or slow down our active mind and to open up for the opportunities we might not know yet. We want to release and relax our bodies to feels comfortable and in a place of trust, so we can fall into full creativity and enjoy our expressive beings. "Not knowing" and "Playfullness" are as welcome as the joy of moving and feeling whatever appears.

Ingo Rosenkranz

Performing and teaching Contact Improvisation, Movement- and Dance-Theatre, bodywork (Shiatsu and others), Tai Chi and Qi Gong for more than 15 years. He is influenced by eastern philosophies, some martial arts, authentic movement, different bodywork and healing-forms and all the beautiful teachers he met on the way including many children and his daughter. An additional part of his work is to organize different Improvisation and Healing events in Germany, such as the Easterimprofestival in Göttingen.

In dance, bodywork and all creative processes I am interested in the present moment which allows me to follow the unknown and to be surprised. To be aware and awake in every moment in order to reach this state of being is one of my goals to enjoy life with more intensity and honesty. And life is an amazing teacher in this.

"Delicious Essentials"

A technical approach to Contact Improvisation

Jörg Hassmann (Germany)

The longer I practice and teach CI the more I become interested in the question “What is essential for this multilayered danceform?” I want to share some of my momentary answers hoping that they create new questiones for the participants – and me too. My approach is technical and I love details. Beginners will hopefully find a first understanding of how dealing with shared weight in movement could be easier. More advanced people might learn even more by finding lots of details and all sorts of connections within the body and towards the partner.

Efficiency and physical delight are my main criteria for movement. To improve we will practice to sense movement (in connection to gravity) from inside - looking for the tiny aahs and oohs and some full hearted juicyness. My wish for this intensive is to give more clarity, choice and a bigger variety of deliciousnesses into the dance.

Joerg Hassmann (*1970, Berlin/ Germany)

I am teaching CI since 1995. From my background as a dance and theatre improviser I entered the stage and eventually contemporary dance techniques. In 2000 I made dance my full time occupation. My work is influenced by anatomy based movement explorations, ideas from Alexander Technique, BMC, Capoeira, play and the urge and joy of discovery.

Teaching and performing is essential for my own learning process. I teach worldwide and I love the differences of cultures and how they show up in local CI communities. In 2007 I started teaching CI training intensiv programs in Berlin together with Daniel Werner, where we developed our systematic aproach to contact technique (www.dancecontact.de). I believe that CI is not the most rewarding danceform to be performed but still I am continously working on it – lately and happily together with Mirva Makinen from Helsinki. As the artistic director I am involved in the annual Contact Festival “contact-meets-contemporary” in Goettingen/ Germany (www.contact-meets-contemporary.de).


 

 
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