Movement as Play

Catalog description

The primary objective of this semester is to free up the artist’s channel through physical training. This work happens under the notion that the body is a channel through which we process our experiences into motion and sound - whether that be through acting, filmmaking, writing, etc. When the channel is open, you learn to connect with and respond more spontaneously to an environment without tension or pushing. A large portion of the freeing-up process is psychological, which requires an understanding of and connection to your emotional and physical self. The mindfulness component of the movement work encourages you to be permissive with your habits, experiences and emotions as they develop in the body. However, this is never accomplished in a vacuum. The unique insight of this training is the necessity for you to be in contact in order for the work to take-hold. This happens through regularly practiced ensemble exercises drawing from Pilobolus and Viewpoints techniques. The concept of “play,” begins to take hold, as you understand improvisational movement without tension or anxiety - working less cerebrally and more kinesthetically. Pulling from exercises of Michael Chekov, Lloyd Williamson, Joe Hart, Steve Paxton, Allen Wayne, and Julia Crockett- you are given an arsenal of physical vocabulary and challenged to become fearless, expansive, unapologetic, and creative. A large portion of the work focuses on the studies of Rudolf Laban’s “Eight Efforts.” These Laban Efforts are the springboard for a final composition choreography project, where you will be asked to create your very own movement piece.