Week 4
see more
Level 1
Class Objective:
To expand the work of developing fundamental connections of movement through the core utilizing both upper and lower initiations; finding fullness and power through a broad range of movement, and creating opportunities to apply this work to performance through both improvisation and set movement sequences.
Areas of Bess:
Body- Bartenieff Fundamentals-explore and refine understanding and performance
Shape- finding multidimensional body shaping while supported with breath and core connections
Space- movement through planes, dimensions, and 3D space by encouraging a full and dynamic use of space
Effort- encouragement to explore a wide range of movement qualities, energies, and dynamics
LMA principles:
Day one
-Fundamentals -connecting to self through breath, grounding, and core support
-developing relationship; bridging through space to another
-finding body level support with full 3dimensional effortful actions
-attention to initiation, sequencing and follow-through; ex. rolls
-attention to space- focus
Day two
-Fundamentals review
-application to larger movement phrases with challenging spatial and effortful components
Class observations and activities:
Beginning a new week with the Level 1's, the goal is to continue to work on full physicality and its integration on both a body and an expressive level. The ultimate goal is to expand the idea of what is possible by engaging in the work of stretching boundaries. Through creative play, problem-solving, body-level work, and physical and conceptual challenges two doors open- one allows an expansion of self-awareness, the other allows the imagination to join forces with physical movement as a conduit for expression.
Teaching Thoughts:
"How does performing a barrel turn help me as an actor?"
This is a hypothetical question being asked for the purpose of discussion here. A thought...yes, we know that 'being physical' is good, and required in the training process. We also know that actors normally do not do movement for its own sake, nor would they necessarily need to perform barrel turns in an audition? One possible 'answer' to this question is thinking about how the barrel turn 'skill' was taught. It actually evolved in increments...taking place over the entire class period, which was devoted to a fundamental and developmental approach from simple to complex. Taking the students from basic movement patterns to more complex forms in space, time, and effort, was a challenging and eventful process. [an example would be to go from dimensions, to planes, to diagonals]. The amount of concentration and exploration it took to investigate avenues of 'body level connectedness' was highly focused and consuming. The ability to discriminate and focus on subtle shifts in sensory-motor learning presented the student with an opportunity to discover choices in 'how' they use their body with the added bonus of enhancing self-confidence as a mover.
Level 2
Class Objectives:
To continue the work of physicalizing imagery from Shakespearean sonnets.
To reinforce the process of tapping into the actor's imagination and movement intelligence in order to enhance expressivity.
Areas of Bess:
Space- movement with awareness of the kinesphere; using a spatial image for generating movement
Effort- encouragement to explore a wide range of movement qualities, energies, and dynamics
LMA principles:
Personal phrasing versus phrasing for image and 'character'.
Inner intention and outer form
Explorations of a variety of effort choices within a spatial construct
----
Class Observations and Activities:
Class was low in energy to start out. Part of the warm-up included a discussion of core support vs. core strength and partner activities such as push hands and finding active vs. passive weight. The level 2's have now all been cast in one of two Shakespearean plays. Characterization for their roles in these plays will be explored in movement class in subsequent weeks. Class activity for today progressed with generating additional movement material for the sonnet. A second 'thought' from a sonnet was added to the movement repertoire. Performing these for each other in the class was part of the process. A student raised the question of wanting to add text to the sonnet work. This step is part of the plan for next week.
Teaching Thoughts:
Intentions for the connection of this work to the actual role they will be playing in their performance work, bring the following to mind. This exercise asks the student to create a movement statement that is completely motivated by imagery in the text. It is the intention of the instructors that attention to detail, nuance, phrasing, transitions, accent, and the interplay of dynamic and spatial choices will provide a learning tool for understanding how an 'objective' can be sustained nonverbally as well as through spoken text. This exercise will also provide a means to document and assess types of expressive movement capabilities for each student.