Provides dancers and dance teachers with an understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. This book features 300 illustrations that cover the major topics, showing exercises to use in technique, artistic expression and performance.
Provides dancers and dance teachers with an understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. This book features 300 illustrations that cover the major topics, showing exercises to use in technique, artistic expression and performance.
Eric Franklin is director and founder of the Institute for Franklin Method in Wetzikon, Switzerland. He has more than 35 years of experience as a dancer and choreographer, and he has shared imagery techniques in his teaching since 1986. Franklin has taught extensively throughout the United States and Europe at the Julliard School in New York, Royal Ballet School in London, Danish Ballet in Copenhagen, Dance Academy of Rome, and Institute for Psychomotor Therapy in Zurich. He was also a guest lecturer at the University of Vienna. He has provided training to Olympic and world-champion athletes and professional dance troupes such as Cirque du Soleil and the Forum de Dance in Monte Carlo. Franklin earned a BFA from New York University's Tisch School of the Arts and a BS from the University of Zurich. He has been on the faculty of the American Dance Festival since 1991. Franklin is coauthor of the best-selling book Breakdance, which received a New York City Public Library Prize in 1984, and author of 100 Ideen für Beweglichkeit and Dance Imagery for Technique and Performance (both books about imagery in dance and movement). He is a member of the International Association for Dance Medicine and Science. Franklin lives near Zurich, Switzerland.
Inhaltsangabe
Part I. Art and Science of Imagery Chapter 1. History, Theory, and Uses of Imagery Defining Imagery Historical Perspectives Emerging Theories on Imagery Benefits of Using Imagery in Dance Summary Chapter 2. Types and Effectiveness of Imagery Direct Imagery Types of Imagery Imagery Strings Making Imagery Effective Summary Part II. Discovering and Exploring Imagery Chapter 3. Discovering Imagery Nature Movies Literary Arts Music Visual Arts Propensity Toward Imagery Summary Chapter 4. Basic Movement Imagery and Exercises Intention Whole-Body Sensation Space Weight Music and Rhythm Connections Through the Body Breath and Flow Summary Chapter 5. Imagery in Dance Improvisation Improvisation and Dance Technique Improvisation With Children Imagery Improvisation Exercises Contact Improvisation and Imagery Butoh Summary Part III. Imagery in Dance Technique Classes Chapter 6. Teaching Dance With Imagery Elements of Making Progress Function and Anatomy Effort and Tension Alignment Paradox Guidelines for Teachers Guidelines for Students Summary Chapter 7. Floorwork, Walking, and Running Floorwork Pelvis as a Strong Sitting Base Upper-Body Motion While Sitting Falls to the Floor Rolls on the Ground Floor Barre Stillness and Slow Movement The Foot Walking and Running Summary Chapter 8. Plié Force Absorption in Plié Imagery for Plié Summary Chapter 9. Tendu-Based Movements Battement Tendu/Dégagé (Jeté) Rond de Jambe à Terre Battement Fondu (Demi-Plié on One Leg) Battement Frappé Summary Chapter 10. Développé and Other Extensions Creating Smooth Action in the Hip Joint Extensions to the Back Releasing Tension, Embodying Fascia Summary Chapter 11. Arabesque, Attitude, and Grand Battement Research on Imagery for the Plié Arabesque Art and Science of Balance Grand Battement Summary Chapter 12. Swings, Arches, and Spirals Swings and Arches Spirals Summary Chapter 13. Upper-Body Gestures Port de Bras (Arm Gestures) Hands Face Eyes Neck Summary Chapter 14. Turns From Crawls to Pirouettes Natural Turners What You Can Learn From a Spinning Top Turning With the Whole Body Angular Motion Phases of Turning in Pirouettes Summary Chapter 15. Jumps Speed and Leverage Anatomical Considerations The Foot in Jumping Elastic Leaps and Rhythmic Rebound Traveling Leaps and Turning Leaps Breathing Before Jumping Arms and Leaping Floors and Soft Landings The Sky Is the Limit Summary Chapter 16. Partnering Requirements for Partnering Connecting With Your Partner Using Imagery in Partnering Summary Part IV. Imagery in Choreography, Rest, and Regeneration Chapter 17. Imagery and Performance Quality Expressivity Authenticity Endowment Magical Outfit Performance Environment Relationship With the Audience Your History Stepping Onstage Summary Chapter 18. Rest and Regeneration Using Your Hands Releasing Touch Constructive Rest Guided Imagery Summary
Part I. Art and Science of Imagery Chapter 1. History, Theory, and Uses of Imagery Defining Imagery Historical Perspectives Emerging Theories on Imagery Benefits of Using Imagery in Dance Summary Chapter 2. Types and Effectiveness of Imagery Direct Imagery Types of Imagery Imagery Strings Making Imagery Effective Summary Part II. Discovering and Exploring Imagery Chapter 3. Discovering Imagery Nature Movies Literary Arts Music Visual Arts Propensity Toward Imagery Summary Chapter 4. Basic Movement Imagery and Exercises Intention Whole-Body Sensation Space Weight Music and Rhythm Connections Through the Body Breath and Flow Summary Chapter 5. Imagery in Dance Improvisation Improvisation and Dance Technique Improvisation With Children Imagery Improvisation Exercises Contact Improvisation and Imagery Butoh Summary Part III. Imagery in Dance Technique Classes Chapter 6. Teaching Dance With Imagery Elements of Making Progress Function and Anatomy Effort and Tension Alignment Paradox Guidelines for Teachers Guidelines for Students Summary Chapter 7. Floorwork, Walking, and Running Floorwork Pelvis as a Strong Sitting Base Upper-Body Motion While Sitting Falls to the Floor Rolls on the Ground Floor Barre Stillness and Slow Movement The Foot Walking and Running Summary Chapter 8. Plié Force Absorption in Plié Imagery for Plié Summary Chapter 9. Tendu-Based Movements Battement Tendu/Dégagé (Jeté) Rond de Jambe à Terre Battement Fondu (Demi-Plié on One Leg) Battement Frappé Summary Chapter 10. Développé and Other Extensions Creating Smooth Action in the Hip Joint Extensions to the Back Releasing Tension, Embodying Fascia Summary Chapter 11. Arabesque, Attitude, and Grand Battement Research on Imagery for the Plié Arabesque Art and Science of Balance Grand Battement Summary Chapter 12. Swings, Arches, and Spirals Swings and Arches Spirals Summary Chapter 13. Upper-Body Gestures Port de Bras (Arm Gestures) Hands Face Eyes Neck Summary Chapter 14. Turns From Crawls to Pirouettes Natural Turners What You Can Learn From a Spinning Top Turning With the Whole Body Angular Motion Phases of Turning in Pirouettes Summary Chapter 15. Jumps Speed and Leverage Anatomical Considerations The Foot in Jumping Elastic Leaps and Rhythmic Rebound Traveling Leaps and Turning Leaps Breathing Before Jumping Arms and Leaping Floors and Soft Landings The Sky Is the Limit Summary Chapter 16. Partnering Requirements for Partnering Connecting With Your Partner Using Imagery in Partnering Summary Part IV. Imagery in Choreography, Rest, and Regeneration Chapter 17. Imagery and Performance Quality Expressivity Authenticity Endowment Magical Outfit Performance Environment Relationship With the Audience Your History Stepping Onstage Summary Chapter 18. Rest and Regeneration Using Your Hands Releasing Touch Constructive Rest Guided Imagery Summary
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