Dance Techniques 2010

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262 Conclusion Her working and movement principles can thus also be recognized in other techniques or transferred onto them. Elements that are applicable to other techniques include, for instance, her work with relaxation and movement efficiency, awareness of energy, the idea of achieving control through the knowledge of body structure, using the powers of imagination, and avoiding too much strength or muscle tension. The technique further assists in clearing blockages, achieving transparency in the body, and strengthening the connection between mind and body—all of which can be applied to other training and performance contexts. Thus Muller’s body of work is groundbreaking as it is less interested in drill than in humanistic values, and in the belief that a constructive and motivating learning atmosphere is crucial. Muller is interested in the people she teaches, and in encouraging them individually. Aspects of the technique that target communication skills and creative thinking are utilized by students in other areas of their lives. Moreover, Muller’s teaching format is also used in schools and social projects, thereby helping to convey an understanding of art, creative thinking, dance, and non-verbal communication to youth, schoolchildren, and students. Because of the guided nurturing of her dancers and the teacher–training program, the Muller Technique is being taught and developed around the world. The intimate relationship between artistic work and her dance company, teachers and her technique, are what make Muller’s body of work so special. Her choreographies and her technique have been nurturing each other for more than forty years. Muller, whose works are characterized by cooperations with renowned artists from other disciplines, has developed a distinguished artistic signature. Her artistic vision, along with her pedagogic approach and the Muller Technique, has been influencing the dance world for decades.
Jennifer Muller — Muller Technique 263 Literature / Links For more information about Jennifer Muller and her artistic work, see her homepage: www.jmtw.org. Transcriptions of the Muller Laboratory from 23 November–1 December 2009 (TML) and the transcriptions of individual technique lessons (TKT) are available as supplemental material at the library of the Centre for Contemporary Dance in Cologne (ZZT). Additionally, there is video documentation of the entire research project. Anderson, Jack The American Dance Festival Durham: Duke University Press, 1987 Banes, Sally Terpsichore in Sneakers: Post-Modern Dance Middletown: Wesleyan University Press, 1987 Franko, Mark Dancing Modernism / Performing Politics Bloomington: Indiana University Press, 1995 Graff, Ellen Stepping Left: Dance and Politics in New York City 1928–1942 Durham: Duke University Press, 1997 Hardt, Yvonne “Reading Emotion: Lesarten des Emotionalen am Beispiel des Modernen Tanzes in den USA (1945–1965)” In: Bischof, Margrit | Feest, Claudia | Rosiny, Claudia (Eds.) e-motions. Jahrbuch der Gesellschaft für Tanzforschung. Vol. 16, Münster: Lit Verlag, 2006, pp. 139–155 Laotse Tao Te King. Das Buch des alten Meisters vom Sinn und Leben Translated by Richard Wilhelm Cologne: Anaconda, 2006 Lewis, Daniel The Illustrated Dance Technique of José Limón Hightstown (NJ): Princeton Book Company, 1999 Mansfield Doares, Janet Louis Horst: Musician in a Dancer's World Durham: Duke University Press, 1992 Todd, Mabel E. Der Körper denkt mit: Anatomie als Ausdruck dynamischer Kräfte Bern: Hans Huber Verlag, 2001 / 2003 (The original was published in 1937, entitled The Thinking Body. A Study of the Balancing Forces of Dynamic Man. London: Dance Books, 1937) Topaz, Muriel: Undimmed Lustre: The Life of Anthony Tudor Lanham (MD): The Scarecrow Press, 2002 Warren, Larry Anna Sokolow: The Rebellious Spirit (Choreography and Dance Studies Series) New York: Routledge, 1998
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Table of Contents 166 Sabine Huschk
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Foreword 9 dance scene (Freie Tanzs
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Introduction 11 Background and star
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Introduction 13 time, to go beyond
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Introduction 15 individual, sensed,
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Introduction 17 in Cologne), as wel
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Introduction 19 Supplementary Contr
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Introduction 21 Digital documentati
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Introduction 23 The years to come w
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Research Questions 25 Concept and I
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Research Questions 27 Teaching: Pri
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30 Background Influenced by Ruth Cu
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32 Interview Alan Danielson Intervi
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34 Interview contract. But what I w
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36 Introduction Maren Witte Introdu
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38 Historical Context Maren Witte H
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Alan Danielson — Humphrey/Limón
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60 Background Influenced by Alexand
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62 Interview Anouk van Dijk Intervi
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64 Interview Do you follow a stri
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66 Introduction Gerald Siegmund, An
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68 Introduction the central axis. T
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70 Historical Context Gerald Siegmu
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72 Historical Context affiliation,
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Anouk van Dijk — Countertechnique
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92 Background Influenced by Limón
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94 Interview Barbara Passow Intervi
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96 Interview When do you consider
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Barbara Passow — Jooss-Leeder Tec
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102 Historical Context Claudia Flei
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104 Historical Context to the Folkw
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106 Historical Context stretches an
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108 Concept and Ideology was mindfu
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110 Understanding the Body / Moveme
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116 Teaching: Principles and Method
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124 Barbara Passow — Jooss-Leeder
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Observation Techniques 127 methods
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Observation Techniques 129 comprise
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Observation Techniques 131 ends so
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Observation Techniques 133 body’s
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Observation Techniques 135 Literatu
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Working Somatically 137 Trisha Brow
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Working Somatically 139 Work on the
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Working Somatically 141 bible for g
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Working Somatically 143 Movement, h
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Working Somatically 145 research. C
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Dance Techniques and Lives 147 Patr
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Dance Techniques and Lives 149 Wou
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Dance Techniques and Lives 151 Wha
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Dance Techniques and Lives 153 Chor
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Dance Techniques and Lives 155 alwa
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Dance Techniques and Lives 157 depa
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P.A.R.T.S. — Contemporary Positio
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Daniel Roberts Cunningham Technique
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Daniel Roberts — Cunningham Techn
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198 Background Influenced by Non-tr
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200 Interview Gill Clarke Interview
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202 Interview more flow, become mor
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204 Introduction Gill Clarke, Franz
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206 Introduction 4. To contradict m
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208 Historical Context Gill Clarke,
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210 Historical Context Companies de
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Page 234 and 235: 234 Interview Jennifer Muller Inter
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Page 238 and 239: 238 Introduction Yvonne Hardt, Vera
Page 240 and 241: 240 Historical Context Yvonne Hardt
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Page 244 and 245: 244 Concept and Ideology Yvonne Har
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Page 266 and 267: 266 Background Robert Rauschenberg
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Page 272 and 273: 272 Introduction Gabriele Wittmann,
Page 274 and 275: 274 Historical Context Gabriele Wit
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Page 280 and 281: 280 Concept and Ideology The concep
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Page 289 and 290: Lance Gries — Release and Alignme
Page 297 and 298: Who’s Who 297 Ingo Diehl studied
Page 299 and 300: Who’s Who 299 Friederike Lampert,
Page 301 and 302: Who’s Who 301 Yoann Trellu is a m
Page 303 and 304: Credits 303 List of illustrations P
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