DANCE LECTU

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THE 3 MAIN SCHOOLS OF TECHNIQUE

Italian (Cecchetti):Known for clean, classical lines

Virtuosity within a delicate framework

French:Known for soft, graceful movements

Ornate rococo style (decorative, baroque)

Russian:Known for its strength in spacious lines

Grand movements and rich style

A DANCER’S STANCE

Turn-out:- Enables a dancer to move quickly and smoothly in any direction

possible

- Achieved by using the muscles to rotate the legs from inside the hip sockets

- Comes from the hips

Pull-up:- long, tall, erect posture

- Common mistake: sticking out the ribcage

- Correct: shoulder over the hips, stomach lifted, belly button to spine

Placement: - Proper alignment throughout the body helps balance and ability to

control movement

- center

STAGE DIRECTIONS

FIXED POINTS FOR THE DANCER

POSITIONS OF THE HEAD

lowered inclined raised erect turned

POSITIONS OF THE FEET

PORT DE BRAS - CECCHETTI

PORT DE BRAS - RUSSIAN

PORT DE BRAS - FRENCH

BODY POSITIONS - CECCHETTI

Croise devant A la

quatrieme devant

A la seconde

Epaule

ecarte efface A la quatrieme derriere

Croise derriere

ARABESQUES - RUSSIAN

ARABESQUES – FRENCH

ARABESQUES - CHECCHETTI

First arabesqu

e

Second arabesque

Third

arabesque

Fourth arabesque

Fifth arabesque

TODAY’S INNOVATORS/MODERN DANCE

Post modern dance = avant garde = innovative and experimental

Doris Humphrey

Katherine Dunham

Jose Limon

Merce Cunningham/John Cage

Paul Taylor

Alvin Ailey

Twyla Tharp

Pilobolus

Mark Morris

POST-MODERN DANCE

Modern dance began as a rebellion against ballet. Soon, many artists began to imitate the great modern dance innovators such as Graham and Duncan. This lead to a revolt within modern dance itself. Dances were too “introspective” and and soon, the young dancers trained in the many schools and techniques of modern dance were too proficient in the genre. The original goal of modern dance, to express emotion through gesture, was being lost to the highly trained dancers in the technique.

All artists of this time abandoned the practices of their forerunners of the 1930s and 40s and began to rebel against the conventional structures and themes for something more abstract. Artists turned to a more Eastern approach using philosophy and theories of chance in order to break down the barriers between art and life.

Words to describe the art of this time (1960s) were, “pop,” “minimal,” “atonal,” collage,” “found art,” or “nonobjective.”

Concept was more important that the artwork itself.

“Of course you have to have technique– but you don’t have to show it off for its own sake! You must be motivated even to make an entrance on the stage—else why perform at all?” –Pauline Koner, artist from Doris Humphrey’s company

DORIS HUMPHREY

Early modern dance innovator 2nd generation of modern dance pioneers

Best know for her work, “The Shakers”

Trained with Denishawn School; separated and moved to NY with Charles Weidman in 1928

Formed Humphrey-Weidman Company created “The Shakers”

Retired in 1945 became artistic director of Jose Limon Dance Company

Her movement explored the ideas of weight and fall and recovery

KATHERINE DUNHAM

Formed Ballet Negres – 1931

Katherine Dunham Dance Company formed from Ballet Negres

Toured during the 1940s hughly successful

“Dancer Katherine the Great”

“Queen Mother of Black Dance”

Signature work, “Shango”

MERCE CUNNINGHAM/JOHN CAGE

Born: 1919 – 2009

Began dancing: Moved to NY and studied at the American School of Ballet

Soloist with Martha Graham Dance Company

Founded his own dance co. in 1953 at Black Mountain College

Worked with John Cage throughout his career

Created dances by using the Chance Dance method

Was part of the founding committee of the choreography computer program called DanceForms

Cunningham choreographed, “Points in Space,” in 1986 with composer John Cage, which incorporated film and live dance. Innovative for the time. Took into account the multiple points of view of the camera.

http://www.youtube.com/watch?v=qf_kLcdijz8