Training and workshop programme May / June 2009 Elizabeth Ward ...

Training and workshop programmeMay / June 2009Elizabeth Ward (USA)Class descriptionRock and Roll Ballet04 – 16 MayMon – Fri 10.00 – 12.00Sat 11.00 – 13.00For those that think ballet is no fun, for those that secretly think ballet is a lot of fun, and forthose that don't know a changement from a soubresaut.Open to all levels this class is a time to enjoy the physicality and freedom found in balletwithout worrying about an illusion of perfection that does not reflect our needs. Emphasis ison ease of motion, joy, sharpness, jumps, and turns. As contemporary dancers we'll practiceballet like a martial artist practices her forms, in order to find freedom in the form. We'll rockout and fly!Elizabeth Ward studied ballet at the schools of the Atlanta Ballet, Joffrey Ballet, SanFrancisco Ballet, and Pennsylvania Ballet before attending Bennington College where shestudied Improvisation and Composition. These two forms, Ballet and Improvisation, verymuch inform her dancing and choreography. Since 2005 Elizabeth has danced with DDDorvillier's human future dance corps. She is currently collaborating with Mårten Spångbergon a ballet duet.Brigitte Ferchichi (A)TrainingThe Franklin Method®18 – 30 MayMon – Fri 10.00 – 12.00Sat 11.00 – 13.00The training offers participants an insight into the Franklin Method, a synthesis ofimagination, movement and experienced anatomy. Each movement is carried out in a mentaland physical presence as well as with a good knowledge of the bodily functions. The methodhelps to give more flexibility and energy. By the optimal support of muscles, joints andorgans, one’s own movements become better understood. Alongside the daily warm-up withFranklin balls and elastic resistance bands, the interplay of joints, muscles and organrhythms is consciously experienced in a theme-centred way, one’s own posture andmovement patterns are understood and changed with the aid of movement, imaginationimages and bodily contact. The participants can thus develop their own responsibility for thebody and train balance, flexibility, body posture and strengthening as part of a balancedwhole. All of this gives the dancers more lightness, grace and pleasure in moving anddancing.Brigitte Ferchichi is a graduate movement pedagogue in the Franklin Method, a teacher ofRaqs Sharqi and a course leader in health gymnastics. Since 2007 she has been a trainer at

the Institute for the Franklin Method. Brigitte Ferchichi was trained in modern dance andexpressive dance by Gwen Wallace. Her encounter with Raqs Sharqi, a traditional form oforiental dance, was a decisive influence on her further orientation in dance. Since 1996 shehas had numerous stage appearances, performances with groups and also as a soloist.Brigitte Ferchichi teaches the Franklin Method and Raqs Sharqi in Austria and abroad.David Bergé (B/D)WorkshopPhotography for contemporary dancers and choreographers19 – 24 JanMon – Wed 12.30 – 17.30In this workshop dancers will be introduced to the way photography works: it uses theheightened sense of spatial awareness dancers have, as a starting point; and proposes waysto enable two-dimentional or framing awareness. Participants in this workshop will doexercises, discuss photographs and look how composition supports content. How doeschoreography look like through a camera or can one use a camera to choreograph?Max. 12 participants, full time commitment strongly recommended.David Bergé is a photographer active in the field of contemporary dance andperformance. Among others, he has been collaborating artistically with choreographers asDD Dorvillier, Jack Hauser and Sabina Holzer, Trajal Harrel, Marc Vanrunxt, MegStuart, Kajsa Sandström and with institutions as P.A.R.T.S., ImPulsTanz, Sarma, TanzplanDeutschland and Haus der Kulturen der Welt. www.papa-razzi.beLaurent Chetouane (F/D)WorkshopPresence(s)25 – 29 MayMon – Fri 13.00 – 16.30How does one produce movement on stage? What are the possible “generators” behind it?What role does the spectator’s gaze play in this? Is movement always a shifting of the bodythrough the space, a constant rearrangement in a system of coordinates, our could oneunderstand/analyse it from the perspective of time or duration? For several danceproductions Laurent Chétouane has been working on the development of a system ofreference that facilitates the production of movement at the intersection of imagination andreality, of virtuality and materiality. The workshop that takes place within Island No. 9 Givingaway instructions, is an introduction to the concept of this aesthetics inasmuch as variousforms of presence are tried out.Laurent Chétouane (born 1973 in Soyaux/France) is a director and choreographer. After hisdegree in engineering he completed a degree in theatre studies at the Sorbonne (F) and intheatre direction at the University of Music and Performing Arts in Frankfurt/M. Since 2000 hehas given numerous spoken theatre productions (Goethe, Schiller, Büchner, Heiner Müller,Jon Fosse, Sarah Kane and Jelinek among others) on major German stages, includingHamburg, Munich, Weimar and Cologne. In addition, since 2006 he has been involved in

dance projects – the “Tanzstücke” – in Essen and Berlin. He has been a visiting lecturer inGießen, Frankfurt/M., Hamburg, Leipzig and Bochum. In 2008 Chétouane received the wildcard of the Ruhr-2010 and the North Rhine-Westphalia support prize for outstanding youngartists, and in 1999 the Ensemble Prize of the German-language acting schools.www.laurentchetouane.comIngrid Hörlezeder (A)Class descriptionTrager – Mentastics, Somatics and Contact Improvisation02 – 06 JuneTue – Fri 10.00 – 12.00Sat 11.00 – 13.00Every training day begins with exercises in self-awareness. The interior and the exterior areexplored. How much space is there between muscles and bones, connective tissue andarteries? How do our organs, fluids and cells move us? How do waves arise? Movementarises out of the ability to feel. Every felt movement leads us into infinity, because our spirit isinfinite. Thus we expand our repertoire of movements by an infinite factor. The approaches tothis come from Bonnie Bainbridge Cohen (BMC) and Milton Trager.In his Mentastics (mental gymnastics), the American doctor, Dr Milton Trager, asks: What issimple and what would be even simpler than that? What would be nothing? Absoluteeffortlessness? Absolute effortlessness in the body arises by complete abandonment togravity. Bonded to gravity, every movement becomes simple; even complex movementsequences can be mastered effortlessly.Thus we arrive at the contemporary dance form of contact improvisation, whose centralthemes are gravity and centrifugal force, as well as contact with a partner. We roll, fly, glideand float – effortlessly. From the abandonment to the momentary instant, clear formsdevelop which can be incorporated into any choreography.Mag. art Ingrid Hörlezeder born 1969 in Haslach / Upper AustriaGraduated in:• Music and movement pedagogics /University for Music and Performing Arts / Vienna• participatory art and research/ moving on centre / US• somatic movement therapy/ moving on centre/ US• Trager – awareness and movement training / Trager Institute/ InternationalTrainer for contact improvisation since 1994; Organiser of the international contactimprovisation trainers conference Ecite 2006; Appearances as musician and dancer since1993, among other places in Brno, San Francisco, Oakland and Vienna; real timecomposition is used as a performance technique in music and dance; artistic influencescome from Vera Mantero and Joao Fiadero as well as from the research of the “nothing”through regular Zen practice.

Ingrid Hörlezeder (A)WorkshopTrager approach to psychophysical integration05. JuniFr 13.00 – 14.30 + 15.00 – 16.30Limited number of paricipants: Three persons per group!In individual sessions there will be the opportunity to experience the Trager approach topsychophysical integration in an individual session. Careful hands accompany themovements, feel the weight and send waves that leave an impression of lightness andeffortlessness in the nervous system. This feeling can be recalled at any time. A Tragersession is recommended for everyone who does not feel fully integrated after an accident orwho would like more lightness, translucence and clarity in body and mind.Three people come for an hour and a half. Each Person receives for 30 minutes theundivided attention of a Trager practician, the other two participants follow the process and inthis way learn what happens in a Trager session.Linda Rabin (CAN)Class descriptionContinuum Movement08 – 20 JuneMon – Fri 10.00 – 12.00Sat 11.00 – 13.00Continuum Movement is an inquiry into the moving intelligence of water. We learn byattending to the fluid expression of our body tissues and cells - movements that spiral,spread, curve, pulsate and undulate. As our whole organism awakens with internalcommunication and resonance, we discover movement is what we ARE and not only whatwe do.A typical Continuum session includes explorations with breath and sound, micro and largermovement, in different relationships to gravity. We take the time to slow down; tune into ourinternal rhythms; pay attention to the felt-sensations below our habitual level of awareness;and encourage the body’s intrinsic wisdom to emerge. Continuum invites us to move beyondthe limits of our usual thoughts and habitual movement patterns into the flexible, adaptableand unpredictable nature of our fluid being.This practice can increase our capacity for easeful movement, reduce our experience ofphysical limitations and pain, spark our creativity and invigorate our overall health and wellbeing. Whether you are a dancer, choreographer, somatic educator, or student of movementof any kind, this approach can enhance and bring new perspectives to your personal andprofessional practice.Linda Rabin co-founder of LADMMI, one of Canada’s leading schools in contemporarydance, brings to Continuum more than 40 years of experience in dance, movement

education coaching and directing. As a Continuum teacher Linda facilitates artists andindividuals to realize their personal, creative and performance processes. She is also acertified practitioner of Body-Mind Centering®. An international workshop leader, Lindateaches in her native Montreal, Canada, Asia and Europe. This is the first time Linda isteaching at the Tanzquartier Vienna.For more information about Continuum: www.continuummovement.comSee article: The Movement That We Are: Linda Rabin and ContinuumCoaching Workshop15 – 18 JuneMon – Thur 13.00 – 16.30Each one of us is a unique weaving of morphology, dance training, intuitive and instinctiveabilities. The path for learning is equally personal. In this workshop, a safe and nonjudgmentalatmosphere, we will engage in explorations that reveal our innate tendencies asdancers and that open the possibility for greater clarity and range. While respecting eachindividual’s personal and creative process, we will look into the coherency of the dancer’sintention and physical expression. Our learning will include one-on-one coaching, exercisesin duos or trios, group witnessing and discussion. Many elements inform the teaching of thisworkshop including concepts from dance, Continuum, BMC, theater and voice work.To participate, bring a dance solo excerpt that you have performed or will be performing.Bring a pen and notebook, and if you like, paper and color pastels for drawing and coloring.Limited to 8 participants.Jennifer Lacey (USA/F)Class description22 – 27 JuneMon – Fri 10.00 – 12.00Sat 11.00 – 13.00The principal focus of this morning class is to develop a relationship between bodysensation, effort and external form. Exercises integrate specific anatomical directives withbroader poetic images in order to encourage a fluid, active alignment and an easy flowbetween internal and external attentions. Both the form of the class and the exercises willshift over the week, proposing the same concepts through different methods of working.Jennifer Lacey is a choreographer, dancer, and teacher from New York City who lives inParis. Her work, often in collaboration with artist Nadia Lauro, is presented regularly in majortheaters, festivals and museums internationally. Her experience as a dancer is eclectic andincludes working with Randy Warshaw Dance Co., DD Dorvillier, the Quator Albrecht Knust,Cathrine contour and Deborah Hay among others. Her teaching has been influenced by hercontinuing studies with releasing technique pioneer Joan Skinner as well as her interest inyoga and qi gong. She has taught classes and workshops in many situations including at theEDDC (Arnham & Dusseldorf); SEAD, ISSD (Japan); Movement Reasearch and Danspace(New York) and Impulstanz (Vienna) among others. Her teaching emphasises form throughsensation and action.

Elisabeth Lutz (A)Evening ClassAlexander Technique and Vocal Improvisation04 – 20 MayMon + Wed each time 18.00 – 19.30Based on the movement ideas of Alexander Technique, which allow us to recognise our ownaction and movement patterns, to release tension and free ourselves from constrictinghabits, resources can be released for the different and the new. Recognise what is, who youare, how you move. Interrupt your habits: stop for a moment what and how you always do,move and act – new possibilities develop of this of their own accord. The attention focuseson the ability of the body to remember the natural use of the movement apparatus.www.alexandertechnik.atThe game of this evening class: experimenting and playing with everything that you makeavailable for movement, vocals, sound and rhythm. Getting into contact with oneself andone’s own voice, singing, sounding, for oneself, with others. Throwing movement, rhythmand voice into one pot, simmering with the heat turned up or turned down, presenting cold orhot. Rediscovering rhythms and allowing them to play for movement. Watching, learning,listening, being there in action and at rest. Picking up and further developing the sounds andrhythms in and around you. Improvising with yourself and your own abilities or joining in withothers in the exchange of sound and movement. Where does that lead to? To the discoveryof new spaces, unusual paths, other experiences of movement – what these look like andhow they shape themselves develops in action. You are warmly invited!Elisabeth Lutz is trained in music and movement teaching at the Vienna University of Music/ specialising in percussion and conga, Alexander Technique with Melissa Matson in Linz(www.alexandertechnik.at, www.alexander-bewegung.com) and movement studies withAmos Hetz in Vienna. Since 1991 her professional activities have included workshops andseminars (subjects: rhythm, percussion, improvisation, movement, breathing and vocals),Alexander Technique (practice, seminars), teaching activities in training for social welfareprofessions and at the Vienna Music University and rhythm for children and young peoplewith physical and mental disabilities (VKKJ association).“I have been living since 1967 and never liked sitting down, much preferred to move, at bestoutside where there is no concrete to disturb your feet. At the age of five, wild piano playingfrom next door awakened a great interest in the instrument. Later I learned tamed pianoplaying at music schools, which much later led to struggling to forget how to play only bynotes in order to use the sounds differently again. Singing was always there, the loudest andfunniest in a fully packed car with my family of five during the many drives between Viennaand Burgenland. I most prefer singing together with other people – because of the orchestrayou are surrounded by.What I concern myself with, what I teach and pass on involves a lot of improvisation and hasdeveloped out of the analysis and playing with my own movement development, exploringbreathing and sound spaces and looking for, finding and extending movement-play spaces.The development and discovery of new possibilities interests me more than prescribedsolutions. Improvised connections between rhythm, breath, voice and movement with andwithout instruments develop out of this. The careful body work of Alexander Technique is agood basis for getting in touch with movement sequences. An important enrichment for meand my work are training seminars with Amos Hetz (Movement Studies), Norbert Faller

(breathing school after Middendorf), Keith Johnstone’s theatre improvisations,choreographies by Anna Halprin, Anna Theresa Keersmaeker and Rose Breuss, texts byand about John Cage, and Jonny – the of Barbara Krauss, the discussion and livelyexchange with colleagues and students– and much more that I otherwise experience.”Lilian Genn (A)evening classLaughter yoga as body awareness training for dancers08 – 17 JuneMon + Wed each time 18.00 – 19.30What effect does conscious laughter have on my body? What changes in my posture, in mybodily awareness, in my emotional state, when I shake my diaphragm energetically?Gelotology, the study of laughter, is discovering ever more advantages: regular laughterliberates, stimulates the immune system and the metabolism, strengthens the stomachmuscles, regulates the flow of breathing in and out, stimulates the cardiovascular system,activates happiness transmitters and improves self-confidence.Laughter yoga, developed by the Indian doctor Dr Madan Kataria, combines breathing andstretching exercises with playful exercises to encourage laughter. The principle is “fake ituntil you make it”, act as if the laughter comes on its own. Our body cannot distinguishwhether it is a spontaneous or conscious laughter. Both have comparable physiologicaleffects and also put our body in a condition of cheerful composure. Laughter yoga is thus awonderful method quickly and effectively to get into the “non-reasoning” state.In the four training units we go on a journey of discovery to find out which potentials can bereleased through conscious laughter. Using the laugher yoga exercises in combination withawareness exercises according to the Franklin Method, we will send a hearty giggling intoour muscles, bones and organs, and look into the effect that laughing has on dancers’everyday movement and training.Lilian Genn was born in Brussels and studied sound principles at the Vienna Conservatory.In addition she trained as a suggestologist and imaginative dance and movement teacheraccording to the Franklin Method. Since 2003 she has developed, staged and appeared inmusic education projects: the Bregenz Festival, Jeunesse Austria, the 2006 Mozart Year, theVienna Konzerthaus, the Vienna Musikverein, the Cologne Philharmonic, the LuxembourgPhilharmonic etc. In addition, Lilian Genn specialises in body awareness and appearancetraining for orchestra/musicians (Vienna Chamber Orchestra, lecturer at the Bregenzacademies with masterclasses of the Vienna Symphony Orchestra). Lilian was infected bythe laughter virus in 2004 at the Vienna Academy of Laughter – since then she has been anenthusiastic laughing yogi. She leads laughter yoga groups and incorporates laughter andthe peaceful philosophy of laughter yoga into her artistic projects and body work.