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18. bis 20.10.2017 From Laban to Kandindsky  
An aesthetic experience in terms of movement with Giusy  
10.30 bis 15.00 Uhr im EDEN***** Studio1  

From Laban to Kandindsky

From Laban to Kandindsky

Date, time and prices: 

18th, 19th, 20th October 2017
10:30 - 15:00 
95 Euros
Early Bird till 8th October 85 Euro 
Info and Registration under:
downyes@yahoo.it 

EDEN, Breite Strasse 43, 13187 Berlin, Studio 150.1

 


The topic of the workshop "From Laban to Kandinsky: an aesthetic experience in terms of movement” starts from the theories of two great exponents of the Art of the twentieth century: Rudolf von Laban and Vasilij Kandinskij. Laban’s motion analysis ( Effort System theory) in which the movement is broken down into its four fundamental categories - weight, time, space and flow - can be fully overlapped to Kandinski's analysis concerning the basic pictorial elements: point, line and surface; as well as of colours and shapes, their intrinsic meanings andmutual relationship, as described by the same author in "terms of movement".

Indeed, Kandinskij, referring to lines, points, shapes and colours, uses categories such as weight, space, time, flow; exactly the same categories in which Laban systematized the movement. Being acquainted with and experimenting the analysis of Laban’s movement, it is possible to decode Kandinsky's graphic signs by reading them in terms of movement. Vice versa being the movement the expression of emotional and psychological meanings allows us to understand the psychological and emotional meanings of the graph sign. In addition, working on the theories of the two authors concerning the composition of the various elements, both in picture and dance, we can explore the relationships between the elements of a composition both pictorial and choreographic so that a painting can be danced and a danced choreography painted.

We will work on three aspects of dance research:
Improvisation - Exploration – Composition
Going through these points:
- Exploring movement through Laban’s Effort System
- Decoding pictorial visual stimulation through Laban’s movement categories
- Composition of movement sequences and their transmutation in pictorial compositions.
- Conveyance of pictorial compositions into choreographic compositions
The ultimate purpose of this path is to create a choreography using a framework of Kandinsky as a complex stimulus. The group involved in the lab, after deepening the theory of Laban's movement, worked to decode the graphic stimulus in terms of movement, realizing not a formal reproduction of the pictorial elements of the painting, but an airing of those implicit tensions that generated it, of dynamics inner to shapes, returning "motor life" to the frame. The graphic sign becomes a motor gesture.

The lab as well as being an "exploration and analysis of movement associated with the pictorial aesthetic experience” has the purpose of expanding our awareness of movement in relation to space and in relation to elements in space.

We are a living "Shape", reality is a great composition composed of different elements, each with its own color, its own tension lines, its own form, its own sound and the infinity possibilities of combinations between them .
The shape of our body encloses a surface, posture is a moving form, our form of being in the world, our way of moving around the world in relation to space and other elements in space. "Posture is the existential position that the subject through the body assumes in space and time." That form we are talking about, tells us our story. Those lines of tension that go down or up or are centrifuges or centripetals come from us and express our emotions, our thoughts, our imagination of the world and us in relation to ourselves and the world. That and only that form can represent us. "That form and only that external form can represent its inner sound" (Kandinskij.)
We are a living artwork and who knows, perhaps, when we come in contact with a "spectator" or when we are spectators of the artwork that is "the other from us", we have exactly the same mechanism of decoding: one perceives the lines, tensions, shapes, colors, sounds of the other and vice versa. This involves the emergence of an impulse to approach or reject.
We are within the world surface, and I, where do I place myself in space and in relation to others in space? What is my form? What are my boundaries? What kind of line are they? What color are they? I hope that this lab experience, can be a starting point for a personal research investigation that leads to a more conscious and authentic feeling and facilitates a new way of living and perceiving our space-body and the space of the surrounding reality by helping to be our own real authentic shape.

The workshop is aimed at dancers, actors and all those who want to deepen their awareness of the infinite possibilities of body movement in relation to space and other bodies in space.

 

Giusy is dancer, teacher, art therapist, and pedagogist. She graduated ( Master) in Choreography at National Dance Academy in Rome. She started dancing when she was six. She began her training in Reggio Calabria, studying ballet, modern dance, standard and latin-american dances.
She went to Rome at the age of 19: here she attended many dance studios and she extended her knowledge of the theory and techniques of several dance styles, such as: contemporary dance; floor work; release; contact improvisation. (Other minor skills: capoeira; yoga; acrobalance; aerial dance (Tissue); tango argentino)
Her passion for dance led Giusy to New York and Los Angeles, where she trained for several months at Steps, Broadway Dance Center and Edge. In the mean time Giusy joined many dance workshop in Italy and abroad studying and performing with international choreographers: Mia Michaels; Terry Beeman; Giuliano Peparini; Medhi Walersky; Alexander Ekman; Talia Paz; Mandy Moore; Wes Weldink; Bruno Collinet; Adi Salant, Erika Silgoner.
She has performed works amongst others in: “La Cina al lido” regisseur Enrica Palmieri
coreography Serge Aimé Coulibaly, Stian Danielsen, Teatro Ostia Lido, Rome; “ Malgrè Tout” coreography Renato Greco e Maria Teresa dal Medico, Teatro Greco, Roma; Amnesia .1 in “Macro International Museum Rome, coreography Simona Zaccagno; “Amnesia” Urban art performance Festival “I cantieri dell’ immaginario” coreography Simona Zaccagno, L’ Aquila; “Crudo” (dance theater- butoh) coreography Stefano Taiuti, Festival” Teatri di Vetro” Roma; TV show- Rai 1 “Carramba che sorpresa” with Raffaella Carra’, choreography Stefano Forti, Rome; Modern jazz-dance company “Il balletto Di Calabria” coreography Patrizia Muzzupappa and Steve la Chance; ” The Super Sexy Show” choreography Terry Beeman, Hollywood (Los Angeles); “Brothers Karamazov ”Dum-Association of Artists” choreography Mateja Bucar, Ljubjana (Slovenia); “ Don Bosco il Musical” coreography Claudio Meloni on tour in various cities of Italy.
Usually Giusy lives in Rome, she is dealing with Dance, Education and Art Therapy in the field of education for children and adults, at school institutes and private realities. She works and trains, searching for the “key” to let the dancers enter a creative state and archieve an organic and spontaneous movement. Trying to deepen the awareness of the infinite possibilities of body movement in relation to space and other bodies in space.
Actually she is living in Berlin attending Sasha Waltz Children Company for a professional internship developing her research on the relationship between creativity and education.

 

 

 

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