Acknowledgments |
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ix | |
Introduction |
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xi | |
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Part 1 Art and Science of Imagery |
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1 | (40) |
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Chapter 1 History, Theory, and Uses of Imagery |
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3 | (22) |
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3 | (1) |
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4 | (1) |
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Emerging Theories on Imagery |
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5 | (3) |
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Benefits of Using Imagery in Dance |
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8 | (16) |
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24 | (1) |
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Chapter 2 Types and Effectiveness of Imagery |
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25 | (16) |
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25 | (1) |
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26 | (8) |
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34 | (4) |
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38 | (1) |
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39 | (2) |
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Part II Discovering and Exploring Imagery |
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41 | (66) |
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Chapter 3 Discovering Imagery |
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43 | (8) |
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43 | (1) |
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44 | (1) |
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44 | (2) |
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46 | (1) |
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46 | (2) |
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Propensity Toward Imagery |
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48 | (2) |
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50 | (1) |
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Chapter 4 Basic Movement Imagery and Exercises |
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51 | (16) |
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52 | (1) |
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53 | (1) |
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54 | (3) |
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57 | (3) |
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60 | (2) |
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Connections Through the Body |
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62 | (2) |
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64 | (1) |
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65 | (2) |
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Chapter 5 Imagery in Dance Improvisation |
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67 | (40) |
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Improvisation and Dance Technique |
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68 | (1) |
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Improvisation With Children |
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68 | (1) |
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Imagery Improvisation Exercises |
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69 | (31) |
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Contact Improvisation and Imagery |
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100 | (4) |
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104 | (1) |
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105 | (2) |
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Part III Imagery in Dance Technique Classes |
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107 | (214) |
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Chapter 6 Teaching Dance With Imagery |
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109 | (22) |
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Elements of Making Progress |
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110 | (3) |
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113 | (4) |
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117 | (1) |
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118 | (1) |
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119 | (6) |
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125 | (4) |
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129 | (2) |
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Chapter 7 Floorwork, Walking, and Running |
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131 | (18) |
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131 | (2) |
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Pelvis as a Strong Sitting Base |
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133 | (1) |
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Upper-Body Motion While Sitting |
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134 | (2) |
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136 | (2) |
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138 | (1) |
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139 | (1) |
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Stillness and Slow Movement |
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139 | (1) |
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140 | (3) |
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143 | (5) |
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148 | (1) |
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149 | (22) |
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150 | (8) |
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158 | (11) |
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169 | (2) |
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Chapter 9 Tendu-Based Movements |
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171 | (18) |
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Battement Tendu/Degage (Jete) |
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172 | (7) |
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179 | (3) |
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Battement Fondu (Demi-Plie on One Leg) |
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182 | (5) |
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187 | (1) |
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188 | (1) |
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Chapter 10 Developpe and Other Extensions |
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189 | (16) |
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Creating Smooth Action in the Hip Joint |
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190 | (3) |
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193 | (1) |
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Releasing Tension, Embodying Fascia |
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194 | (10) |
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204 | (1) |
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Chapter 11 Arabesque, Attitude, and Grand Battement |
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205 | (18) |
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Research on Imagery for the Plie Arabesque |
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206 | (1) |
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Art and Science of Balance |
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207 | (9) |
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216 | (5) |
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221 | (2) |
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Chapter 12 Swings, Arches, and Spirals |
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223 | (12) |
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223 | (8) |
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231 | (3) |
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234 | (1) |
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Chapter 13 Upper-Body Gestures |
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235 | (22) |
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Port de Bras (Arm Gestures) |
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235 | (12) |
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247 | (3) |
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250 | (2) |
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252 | (2) |
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254 | (2) |
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256 | (1) |
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257 | (30) |
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From Crawls to Pirouettes |
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257 | (2) |
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259 | (3) |
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What You Can Learn From a Spinning Top |
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262 | (4) |
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Turning With the Whole Body |
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266 | (2) |
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268 | (1) |
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Phases of Turning in Pirouettes |
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269 | (16) |
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285 | (2) |
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287 | (26) |
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288 | (5) |
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Anatomical Considerations |
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293 | (4) |
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297 | (3) |
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Elastic Leaps and Rhythmic Rebound |
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300 | (2) |
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Traveling Leaps and Turning Leaps |
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302 | (4) |
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306 | (2) |
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308 | (1) |
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309 | (1) |
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310 | (2) |
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312 | (1) |
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313 | (8) |
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Requirements for Partnering |
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313 | (1) |
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Connecting With Your Partner |
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314 | (2) |
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Using Imagery in Partnering |
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316 | (4) |
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320 | (1) |
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Part IV Imagery in Choreography, Rest, and Regeneration |
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321 | (40) |
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Chapter 17 Imagery and Performance Quality |
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323 | (18) |
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323 | (2) |
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325 | (1) |
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326 | (2) |
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328 | (2) |
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330 | (3) |
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Relationship With the Audience |
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333 | (1) |
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334 | (1) |
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334 | (5) |
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339 | (2) |
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Chapter 18 Rest and Regeneration |
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341 | (20) |
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342 | (1) |
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343 | (3) |
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346 | (11) |
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357 | (3) |
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360 | (1) |
Epilogue |
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361 | (1) |
References and Resources |
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362 | (6) |
Index |
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368 | (6) |
About the Author |
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374 | |