Warm-Up: (7 minutes)
1. Walk through the room. Feel your feet, notice others around you, notice the gaps between you and move into those gaps. Find the empty spaces in the room, while also moving between the gaps between you and the others.
2. Pick a person to follow, don't let them know you are following them. Follow a new person. Now form a triangle with two people in the room. Move to make it a perfect triangle. Drop those two people and walk. Now find two new people and create a straight line with you on one end.
Lanes: (5 minutes)
3. Walk, run, jump, stop or fall.
A) Tempo...how fast can you do these activities? How slow?
B) Duration...how long can you lie down for? How long can you jump for, explore the extremes.
C) Kinesthetic Response....notice and respond to the sounds and movements of the others in the room.
Grid: (5 minutes)
4. Open it up into a grid of straight lines. Walk, run, jump, stop or fall on the grid.
A) Continue to work with a focus on tempo, duration and kinesthetic response.
B) Spatial Relationship...notice the space around you, in you, between you and others. Allow yourself to be a moving body in space, free, spontaneous and infinite. Notice the shape of your body, notice the shapes all of our bodies make together.
Open Viewpoints (5 minutes)
5. Open it up to the whole space
C) Gesture. Add in everday behavioral gestures. Physical gestures you see in the pilates studio, the Met, the elevator at Fordham, the office, the zendo, the subway, the street. Let them be bigger. Let the gestures expand, let them transform.
D) Repetition...repeat the gestures of others.
E) Architecture. Use the room, the floor, the walls, the stage, be aware of the ceiling and the huge space above your head, be aware of the floor, and your feet and your breathing and the wave.
Viewpointing with audience (8 to 10 minutes)
6. Divide into two groups. Some up some down. Begin. Use all of the different aspects of viewpoints: Tempo, duration, kinesthetic response, spatial relationship, gestures, repetition, architecture
7. Switch.
Saturday, November 15, 2008
Saturday, November 8, 2008
Tayloring our Viewpoints
I would like to lead Viewpoints after Gabe leads us in the Robert Taylor work. I will follow a similar pattern to the Viewpoints session that I lead 2 weeks ago, however this time I would like to add in the Taylor energies and gestures.
1. Lanes. Stand in your lane. Become aware of your body taking up space in the room. Feel your feet, allow your breath to naturally come in and out. Feel your feet. Let go of any tension. Notice where you have muscular tension and breathe through that area. Do the wave forwards and backwards. Can you be aware of other people making waves? This time let the energy pool at your feet, but instead of the wave, let us find the JUMP.
Movement possibilities: a) Walk b) jump c) crawl d) lie down e) reverse direction f) dramatic jump g) lyric jump h) epic jump.
2. Lanes. Introduce: a) tempo b)duration c) repetition
3. Freestyle: Introduce: a) Gestures: Robert Taylor: direct, thoughtful, sympathy, antipathy, feeling forward, retreating...allow more freedom with these gestures, let them organically emerge from your body, can you find something completely new in them?
b) spatial relationships
c) architecture
4. Big Group viewpoints
5. Small Group viewpoints
1. Lanes. Stand in your lane. Become aware of your body taking up space in the room. Feel your feet, allow your breath to naturally come in and out. Feel your feet. Let go of any tension. Notice where you have muscular tension and breathe through that area. Do the wave forwards and backwards. Can you be aware of other people making waves? This time let the energy pool at your feet, but instead of the wave, let us find the JUMP.
Movement possibilities: a) Walk b) jump c) crawl d) lie down e) reverse direction f) dramatic jump g) lyric jump h) epic jump.
2. Lanes. Introduce: a) tempo b)duration c) repetition
3. Freestyle: Introduce: a) Gestures: Robert Taylor: direct, thoughtful, sympathy, antipathy, feeling forward, retreating...allow more freedom with these gestures, let them organically emerge from your body, can you find something completely new in them?
b) spatial relationships
c) architecture
4. Big Group viewpoints
5. Small Group viewpoints
Monday, November 3, 2008
Gabe leading Taylor. Lesson II for 11/9
We will start with the breath then leading to the shape.
1) Sipping breaths into each chamber of the body.
2) Breath count to 8, then 12, then 16, then 20.
3) Dramatic:
A) Inhaling and then exhaling on the rhythm of Dramatic first. Next, going over the form by drawing the parallels of the wave; how momentum, suspension and gravity are prevalent in the shape and its release.
B) Doing four dramatics.
C) Inhaling and exhaling on the rhythm of dramatic; drawing the parallels of Cicely Berry’s work which will pertain to "releasing the thought" and "pursuing the thought".
E) Inhaling then exhaling with text; reinforcing “releasing the thought.” Using one line of text—using the same line throughout.
F) Finally, with “releasing the thought” in mind and using the form of dramatic, the exhale is the text and the entire action of performing the shape of dramatic is the "release of the thought".
G) Review the forms of the 6 Revelations of Speech; 1)Direct 2) Sympathy 3) Antipathy 4) Thoughtful 5) Retreating-to-one’s-own-ground and 6) Feeling-forward-against-the-hindrance. We will use the line of text with the Energy of Dramatic with each Revelation.
H) I will now focus on "pursuing the thought". Continuing using the same text (going onto the subsequent lines) and using the different revelations to “chase” that thought.
4) Lyric- Steps A-H using the Lyric shape.
5) Epic- Steps A-H using the Epic shape.
6) Text Circle.
A) Zip-Zap-Zop
B) “Text”-“Text”-concentrating on not compromising speed for connection.
C) One line in, one line out
D) Full open exchanges/freestyle!
After the Taylor session, if time allows, I am volunteering myself to go first on “Monologue/Proposition feedback” (as we discussed last week in Training (11/2) and in our meeting in June). I would still like to employ this aspect into our training. Thanks for your time and have a fabulous day.
Gabe :)
1) Sipping breaths into each chamber of the body.
2) Breath count to 8, then 12, then 16, then 20.
3) Dramatic:
A) Inhaling and then exhaling on the rhythm of Dramatic first. Next, going over the form by drawing the parallels of the wave; how momentum, suspension and gravity are prevalent in the shape and its release.
B) Doing four dramatics.
C) Inhaling and exhaling on the rhythm of dramatic; drawing the parallels of Cicely Berry’s work which will pertain to "releasing the thought" and "pursuing the thought".
E) Inhaling then exhaling with text; reinforcing “releasing the thought.” Using one line of text—using the same line throughout.
F) Finally, with “releasing the thought” in mind and using the form of dramatic, the exhale is the text and the entire action of performing the shape of dramatic is the "release of the thought".
G) Review the forms of the 6 Revelations of Speech; 1)Direct 2) Sympathy 3) Antipathy 4) Thoughtful 5) Retreating-to-one’s-own-ground and 6) Feeling-forward-against-the-hindrance. We will use the line of text with the Energy of Dramatic with each Revelation.
H) I will now focus on "pursuing the thought". Continuing using the same text (going onto the subsequent lines) and using the different revelations to “chase” that thought.
4) Lyric- Steps A-H using the Lyric shape.
5) Epic- Steps A-H using the Epic shape.
6) Text Circle.
A) Zip-Zap-Zop
B) “Text”-“Text”-concentrating on not compromising speed for connection.
C) One line in, one line out
D) Full open exchanges/freestyle!
After the Taylor session, if time allows, I am volunteering myself to go first on “Monologue/Proposition feedback” (as we discussed last week in Training (11/2) and in our meeting in June). I would still like to employ this aspect into our training. Thanks for your time and have a fabulous day.
Gabe :)
Friday, October 24, 2008
Viewpoints for Aria da Capo by Wendy
Goal: To use Viewpoints as a means of warming up for our evening performance of Aria da Capo.
Warm-Up for Viewpoints:
A) Individual: Stand in a line. Become aware of your breathing. Notice your natural breathing rhythmn, and see if you can notice it without controling it. With soft eyes do a body scan. Where are you tense? Can you breathe through that tense place? Now I will take us through a body scan. As I mention the different body parts, notice if there is any muscle tension there. If there is tension, release it, and then breathe through that particular body part.
Feet, ankles, calves, knees, thighs, pelvis, hip sockets, lower abdominals, solar plexis, ribs, heart center, shoulders, arms, elbows, wrists, hands, neck, 7 vertebrea, throat, head, forehead, top of head.
B) Group: Still standing in a line, use your peripheral vision and your body sense to feel everyone's presence. Feel the desire to jump. Feel it with your whole body. Really want to jump. Without initiating and without following, see if you can jump as a group. The jump will initiate us into line viewpoints.
C) Line viewepoints with suggestions of character:
1. Walk, jump, fall, crawl, reverse direction. Move in a straight line.
As I call out different characters' names, see how the suggestion of the
name affects the way you walk, jump, fall, crawl or reverse direction.
PIERROT
THYRSIS
COTHURNUS
COLUMBINE
CORYDON
Pause. Breathe. Check in. Say your own character's name to yourself.
Repeat your character's name inside your head. Notice the affect your
character's name has on your body.
Walk, jump, fall, crawl, reverse direction.
2. Tempo: how fast can you go? how slow can you go?
3. Duration: how long can you lie down for? how long can you go slow for?
how long can you move quickly?
4. Kinesthetic Response: Allow yourself to be affected by the movement and
and sounds of others in the room.
5. Gestures: Do a gesture that your character would do. Remember you have
hands, arms, legs, head, mouth, eyes, feet, stomach, chest. Repeat it.
Break free of the line. Move where you like
6. Repetition: Repeat the gestures of others in the room.
7. Shape: What shape does your body make in space?
Lines/Curves/Stationary/Moving
8. Architecture: How does the architecture of this space affect your
movement? Floors, Ceilings, Walls, Stage, Furniture, Windows, One another
Texture
Light, Dark
Color
9. Spatial Relationship
Warm-Up for Viewpoints:
A) Individual: Stand in a line. Become aware of your breathing. Notice your natural breathing rhythmn, and see if you can notice it without controling it. With soft eyes do a body scan. Where are you tense? Can you breathe through that tense place? Now I will take us through a body scan. As I mention the different body parts, notice if there is any muscle tension there. If there is tension, release it, and then breathe through that particular body part.
Feet, ankles, calves, knees, thighs, pelvis, hip sockets, lower abdominals, solar plexis, ribs, heart center, shoulders, arms, elbows, wrists, hands, neck, 7 vertebrea, throat, head, forehead, top of head.
B) Group: Still standing in a line, use your peripheral vision and your body sense to feel everyone's presence. Feel the desire to jump. Feel it with your whole body. Really want to jump. Without initiating and without following, see if you can jump as a group. The jump will initiate us into line viewpoints.
C) Line viewepoints with suggestions of character:
1. Walk, jump, fall, crawl, reverse direction. Move in a straight line.
As I call out different characters' names, see how the suggestion of the
name affects the way you walk, jump, fall, crawl or reverse direction.
PIERROT
THYRSIS
COTHURNUS
COLUMBINE
CORYDON
Pause. Breathe. Check in. Say your own character's name to yourself.
Repeat your character's name inside your head. Notice the affect your
character's name has on your body.
Walk, jump, fall, crawl, reverse direction.
2. Tempo: how fast can you go? how slow can you go?
3. Duration: how long can you lie down for? how long can you go slow for?
how long can you move quickly?
4. Kinesthetic Response: Allow yourself to be affected by the movement and
and sounds of others in the room.
5. Gestures: Do a gesture that your character would do. Remember you have
hands, arms, legs, head, mouth, eyes, feet, stomach, chest. Repeat it.
Break free of the line. Move where you like
6. Repetition: Repeat the gestures of others in the room.
7. Shape: What shape does your body make in space?
Lines/Curves/Stationary/Moving
8. Architecture: How does the architecture of this space affect your
movement? Floors, Ceilings, Walls, Stage, Furniture, Windows, One another
Texture
Light, Dark
Color
9. Spatial Relationship
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