Tension to Understand Energy

 

I

 

Unit: Space and Relationship

Theme: Tension


Introduction

 Dancers interact with space in myriad ways. Last class we explore energy by creating lots of movement and stopping. We use the drum to keep moving and to then stop suddenly on a louder bit. The overflowing filling of self-contained energy ready to burst out our bodies gives a sense of how much energy we have. However, the best way to illustrative energy is when we turn it into action.


--------------------------------

II

Learning Objectives

 

  • Understand the meaning of effort
  • Explain how the use of effort permeates our movement abilities and choices
  • Gain an awareness of the possible  locomotive advantages generated by effort  when moving on stage
  • Experience effort through a choreographed movement ensemble phrase


III

Main Lesson


1

Isolation WarmUp

 

2

Movement Exploration

 

Based on an exercise learned with Odin Teatre taught by Iben Nagel Rasmussen,  Belts or straps are used to target different parts of the body to generate effort. Students work in pairs.

 

 Question 1

Write a reflection on your experience.

 

3

 Eastern and Western Influences on Performer Training at Eugenio Barba's Odin Teatret by Ian Watson

 

This emphasis on the actor is nowhere more evident than in Barba's and the Odin's performer training. ... "as the use of opposing body tensions" to  be conscious of the body's energy.


 Question 2

Explain in your own words the meaning of tension and effort in regards to body energy? 


IV

A Note to Remember

Tension is muscle work that does not produce motion, but rather helps to maintain a stable or static connection with other dancers during dances such as tango and salsa. 


V

Case Study

Ryszard Cieslak
 
 
Ryszard Cieslak was born on March 9, 1937 in Kalisz, Wielkopolskie, Poland. He was an actor, known for The Mahabharata (1989), Rekolekcje (1978) and Akropolis (1969). He was the leading actor of Jerzy Growtowsky's theater ensemble. He died on June 15, 1990 in Houston, Texas, USA.
 



 VI

 

Activity 1

Experience energy putting effort in movement which results in tension.

Practice

1. Based on your exploration of movement with the straps, discuss what you felt.

2. Explore what is like to use the tense relationship with your partner's body (via strap) as an obstacle to develop awareness. Share your experience.


Activity 2
  

To their previous ensemble phrase, students add their new phrase. 

 

Closing 

Review & Share your phrases. 

Students share their work with the class after adding to their choreographic structure (of two movement phrases) their new phrase.

 

VII

Journaling

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 VIII
Glossary
---------------------------- 


 IX

Sources

 Eastern and Western Influences on Performer Training at Eugenio Barba's Odin Teatret by

Ian Watson. https://www.jstor.org/stable/1124022



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