English Workshop



CORPOREALNESS AND THE DRAMATIC QUALITY OF MOVEMENT
                                     ANA CONTINENTE DANZA



I started teaching dance classes ten years ago, when I considered that I had something to pass on, after having performed in front of  audiences for years as a dancer and actor.

TEACHING DANCE IS MORE FAR-REACHING THAN DANCE ITSELF.

Since I love very much what I'm doing, I try to be honest and do justice to this form of art that has helped me encounter the essence of what and who we are.
When I'm teaching I am just a intermediary who opens doors for the students in order for them to find their own tools and come as close as possible to the most authentic expression of themselves. By applying the technique and skills acquired during the class students gradually gain control over their movements and recognize the most effective expression. When improvising, a very important part of the workshop,  students are given guidelines that use the natural movement of the human body.


BEFORE  TEACHING TECHNIQUE I WANT TO AWAKEN IN MY STUDENTS THE URGE TO DANCE, I FIRST PASS ON THE IDEA OF MOVEMENT, EVERYTHING ELSE COMES AFTER.


Passion, enthusiasm, infatuation with dance, an attitude.

THE DANCERS INDIVIDUAL REPLY TO DANCE IS THE MAIN TOPIC OF MY DISCOURSE.


What tools and strategies are we going to use?

We will explore the connection between gravity and weight in terms of fall, recovery and suspension.

Breathing as a dramatic state.

The economy of movement, each action has to be dramatically justified.

Spirals, rebounds and undulating movements as starting point of all physical effort of the human body.

Awareness of where the movement initiates and the connection with the emotions that any movement arises in ourselves and in the audience.

Dynamics of movement: rhythms, influence of the space we dance in, opposing forces, projection and energy pathways.

Improvisation as the first stroke of any choreographic composition.

We will learn to differentiate routine movements from justified movements.

Thoughts and emotions converge, while life separate meaning and emotions art reunites them.

Dance the way you are and express what you believe in.

Resign yourself to not doing anything: the importance of pauses.

Dance technique as a way to create your own choreography.


My dance influences:

Graham dance technique
Limón technique
Fly Low
Contact Improvisation
Research of theatrical resources and performance technique

Class Structure

I always start class by bringing the  attention back to your body and your breath, centering your mind to be in the here and now with awareness. We visualize our anatomy, bring awareness to our breath and to our focus (where we are looking) and give importance to our presence in order to prepare for a stage performance.

Next I guide a short dance improvisation in order to stimulate the imagination and help students learn new ways of moving their bodies. So far body and mind have not yet been influenced by choreographed exercises or technical training and the body moves intelligently and organically following its needs.

We are ready: Sun Salutation, yoga exercises.

Directed technique exercises: Contemporary Barre warmup
                                               Center work, short sequences to work on you pliés, grand                                                 pliés, alignment, por-de-bras, tendus, developpés,
                                               cloches, weight transfer
Floor work: combinations across the floor, a personal mix of fly low and “release” technique, hip hop influenced balance exercises

Diagonals: Jumps and leaps across the floor

Choreography: Performing a short choreographed sequence

How are we going to apply all this to our IMPROVISATION on stage?

After all this workout in some classes we are going to do contact improvisation exercises which will always be guided.

We will explore the creation of movement through improvisation always following my instructions. These can include pushing, sniffing, falling, colliding always linked to  a particular topic, a stage play, a passage from a opera.

The class ends with improvised duet or group presentations, since viewing performances and being viewed is an important aspect of this course.

Am I going to cope with the improvised performance on stage?
Do I apply the technique I've learnt to create expressive movement?
Do I connect with my audience or does it put a limit on my body and mind?
Am I aware and in control of the performing space?
Do I act or do I simply display my virtuosity or my errors?