Muutke küpsiste eelistusi

Dance Imagery for Technique and Performance 2nd Revised edition [Pehme köide]

  • Formaat: Paperback / softback, 392 pages, kõrgus x laius: 279x216 mm, 245 black & white illustrations, 56 black & white halftones
  • Ilmumisaeg: 12-Nov-2013
  • Kirjastus: Human Kinetics
  • ISBN-10: 0736067884
  • ISBN-13: 9780736067881
Teised raamatud teemal:
  • Formaat: Paperback / softback, 392 pages, kõrgus x laius: 279x216 mm, 245 black & white illustrations, 56 black & white halftones
  • Ilmumisaeg: 12-Nov-2013
  • Kirjastus: Human Kinetics
  • ISBN-10: 0736067884
  • ISBN-13: 9780736067881
Teised raamatud teemal:
Gives dancers a deep understanding of how imagery works and its importance in developing dance technique and artistry. Teaches how to combine technical expertise with imagery skills to enrich expressive repertoire. Improves improvisation, dance technique, and performance. Guides the use of imagery to clarify intent and content of movement. Original.

Franklin, a dancer, choreographer, teacher, and founder and director of a dance institute in Switzerland, details his method of using mental imagery in dance. He describes the fundamental imagery used in dance relating to space, time, and shape; how to use it in the improvisational setting; how to apply imagery in technique class for various movements; how choreographers use imagery; and methods to regenerate and replenish the body using the ideokinetic constructive rest position and Sweigard's nine lines of action, as well as guided imagery. This edition has two new chapters on the background, history, theory, and uses of imagery; new exercises; the results of two research studies on dance imagery; more detailed anatomical information; and new b&w illustrations. Audio recordings of two guided imagery processes and recordings for creating alignment and posture and rest and regeneration are available on the companion website. Annotation ©2013 Book News, Inc., Portland, OR (booknews.com)

Arvustused

The Franklin method has proved invaluable to our students at the Juilliard School in New York City for the past several years. Learning how to use mental imagery and functional anatomy for dance augments our training program beautifully because it is clear, precise, and useful in every way for any dancer. The students have found it revelatory!

Lawrence Rhodes--Director of the Dance Division, The Juilliard School

Acknowledgments ix
Introduction xi
Part 1 Art and Science of Imagery
1(40)
Chapter 1 History, Theory, and Uses of Imagery
3(22)
Defining Imagery
3(1)
Historical Perspectives
4(1)
Emerging Theories on Imagery
5(3)
Benefits of Using Imagery in Dance
8(16)
Summary
24(1)
Chapter 2 Types and Effectiveness of Imagery
25(16)
Direct Imagery
25(1)
Types of Imagery
26(8)
Imagery Strings
34(4)
Making Imagery Effective
38(1)
Summary
39(2)
Part II Discovering and Exploring Imagery
41(66)
Chapter 3 Discovering Imagery
43(8)
Nature
43(1)
Movies
44(1)
Literary Arts
44(2)
Music
46(1)
Visual Arts
46(2)
Propensity Toward Imagery
48(2)
Summary
50(1)
Chapter 4 Basic Movement Imagery and Exercises
51(16)
Intention
52(1)
Whole-Body Sensation
53(1)
Space
54(3)
Weight
57(3)
Music and Rhythm
60(2)
Connections Through the Body
62(2)
Breath and Flow
64(1)
Summary
65(2)
Chapter 5 Imagery in Dance Improvisation
67(40)
Improvisation and Dance Technique
68(1)
Improvisation With Children
68(1)
Imagery Improvisation Exercises
69(31)
Contact Improvisation and Imagery
100(4)
Butoh
104(1)
Summary
105(2)
Part III Imagery in Dance Technique Classes
107(214)
Chapter 6 Teaching Dance With Imagery
109(22)
Elements of Making Progress
110(3)
Function and Anatomy
113(4)
Effort and Tension
117(1)
Alignment Paradox
118(1)
Guidelines for Teachers
119(6)
Guidelines for Students
125(4)
Summary
129(2)
Chapter 7 Floorwork, Walking, and Running
131(18)
Floorwork
131(2)
Pelvis as a Strong Sitting Base
133(1)
Upper-Body Motion While Sitting
134(2)
Falls to the Floor
136(2)
Rolls on the Ground
138(1)
Floor Barre
139(1)
Stillness and Slow Movement
139(1)
The Foot
140(3)
Walking and Running
143(5)
Summary
148(1)
Chapter 8 Plie
149(22)
Force Absorption in Plie
150(8)
Imagery for Plie
158(11)
Summary
169(2)
Chapter 9 Tendu-Based Movements
171(18)
Battement Tendu/Degage (Jete)
172(7)
Rond de Jambe a Terre
179(3)
Battement Fondu (Demi-Plie on One Leg)
182(5)
Battement Frappe
187(1)
Summary
188(1)
Chapter 10 Developpe and Other Extensions
189(16)
Creating Smooth Action in the Hip Joint
190(3)
Extensions to the Back
193(1)
Releasing Tension, Embodying Fascia
194(10)
Summary
204(1)
Chapter 11 Arabesque, Attitude, and Grand Battement
205(18)
Research on Imagery for the Plie Arabesque
206(1)
Art and Science of Balance
207(9)
Grand Battement
216(5)
Summary
221(2)
Chapter 12 Swings, Arches, and Spirals
223(12)
Swings and Arches
223(8)
Spirals
231(3)
Summary
234(1)
Chapter 13 Upper-Body Gestures
235(22)
Port de Bras (Arm Gestures)
235(12)
Hands
247(3)
Face
250(2)
Eyes
252(2)
Neck
254(2)
Summary
256(1)
Chapter 14 Turns
257(30)
From Crawls to Pirouettes
257(2)
Natural Turners
259(3)
What You Can Learn From a Spinning Top
262(4)
Turning With the Whole Body
266(2)
Angular Motion
268(1)
Phases of Turning in Pirouettes
269(16)
Summary
285(2)
Chapter 15 Jumps
287(26)
Seed and Leverage
288(5)
Anatomical Considerations
293(4)
The Foot in Jumping
297(3)
Elastic Leaps and Rhythmic Rebound
300(2)
Traveling Leaps and Turning Leaps
302(4)
Breathing Before Jumping
306(2)
Arms and Leaping
308(1)
Floors and Soft Landings
309(1)
The Sky Is the Limit
310(2)
Summary
312(1)
Chapter 16 Partnering
313(8)
Requirements for Partnering
313(1)
Connecting With Your Partner
314(2)
Using Imagery in Partnering
316(4)
Summary
320(1)
Part IV Imagery in Choreography, Rest, and Regeneration
321(40)
Chapter 17 Imagery and Performance Quality
323(18)
Expressivity
323(2)
Authenticity
325(1)
Endowment
326(2)
Magical Outfit
328(2)
Performance Environment
330(3)
Relationship With the Audience
333(1)
Your History
334(1)
Stepping Onstage
334(5)
Summary
339(2)
Chapter 18 Rest and Regeneration
341(20)
Using Your Hands
342(1)
Releasing Touch
343(3)
Constructive Rest
346(11)
Guided Imagery
357(3)
Summary
360(1)
Epilogue 361(1)
References and Resources 362(6)
Index 368(6)
About the Author 374
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. He 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