why. what. how.

On 27 Aug 2014, in dancehacker, teacher, by ricardo

lectures

Lectures and Research

The Secret: What do dancers know?

'Dance is at the bottom of the food chain.' (William Forsythe 2009)

Neuroscientists, philosophers, and also dance academics of all sorts have been trying to figure out what it is: what do dancers know that other people can't grasp? Unless they've been through the mill of arduous training and rehearsing, they have no way of knowing it. Call it embodied knowledge, somatic intelligence and so forth, it is rarely articulated by dancers, so there's little understanding of it outside the dancer's circle. It is a secret. A secret not by intention but by virtue of its nonverbal nature.

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Hänsel und Gretel Musical

On 28 Nov 2015, in blog, productions, by ricardo

alt text of photo

„Ein Kind, dem nie Märchen erzählt worden sind, wird ein Stück Feld in seinem Gemüt behalten, das in späteren Jahren nicht mehr angebautwerden kann.“ Johann Gottfried von Herder, Schriftsteller, Philosoph und Theologe der Aufklärungszeit
Unermüdlich erzählen wir deshalb auf der Bühne Märchen – immer in der Verantwortung, dass tausende Kinder zum allerersten Mal den Theaterraum betreten und mit allen Sinnen dem Bühenerlebnis entgegenfiebern.

In diesem Jahr präsentieren wir ein Märchen, das zu den meist erzählten gehört – aber auch zu den meist umstrittenen: Eltern bringen aus sozialer Not ihre beiden Kinder tief in den Wald und hoffen, dass Hänsel und Gretel dort verloren gehen.
Auf ihrem Irrweg gelangen die ausgestoßenen Kinder an das Lebkuchenhaus einer Menschen fressenden Hexe. Mit List können sich beide befreien und kehren mit reichlich Schmuck und Nahrung zurück zum Elternhaus.

Entgegen der Haltung der 70er Jahre, die das Erzählen der Volksmärchen in Frage stellte, werden wir uns gemeinsam mit den jungen Gästen hinein stürzen in diese Geschichte über böse und gut, dumm und schlau, traurig und lustig, hungrig und satt, dunkel und hell, unglücklich und glücklich.


theaterhagen

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morphogenesis

On 29 Jul 2015, in dancehacker, teacher, by ricardo

lectures

Morphogenesis

How is dance generated?

dance ontology

Three approaches to observe the process of creation.
Format: Lecture/performance

In this lecture/performance, 3 theoretical models of morphogenesis are exposed and a live example is performed.

  1. What is Morphogenesis

    Morphogenesis is the process that determines how biological forms are differentiated and organized. A right or a left limb have the same genetical materials, why and how it takes one form or another is not biologically fully explained yet. Performance undergoes similar processes; the coding and rules of genetics as in the modes of communication, the materials and mechanics of genes in the instruments and scores, dance steps and the bodies, are present in the same way. The moment of decision that differentiates and piles up a cell in one way or another, and the combination of one movement next to another has been the subject of theories in the recent past. Three approaches to this issue are presented here, from biology, from quantum physics applied to Jungian Psychology and from performance studies.
    • 1.1 Chreode
      A neologism created by biologist Conrad H. Waddington in his book The Strategy of the Genes from 1957, chreode (chre – necessary und hodos - path) is explained by using an analogy that uses gravity as an easy to relate phenomenon in the physical world: a ball rolling along a path. The theory of chreode provides for self organisation, natural temporal framework and variation of form.
    • 1.2 Attractors
      In combining chaos theory with Jungian Archetypes, psychologist John R. Van Eenwyk creates a possible model that inverts causation and lends to behavior with posterior causation. The future pulls creation as opposed to being pushed from the past. Creativity is this sense, most likely, operates freed from natural time.
    • 1.3 Viscosity
      Portuguese philosopher José Gil introduces the concept of 'viscosity' to explain movement choices in his article "O Corpo Paradoxal" (Paradoxical Body) in his book "Movimento Total – O Corpo e a Dança" from 2001. According to his postulate, dance is channeled through paths of lower viscosity that are sensed by the dancer in the act of dancing.
  2. Observing morphogenesis in performance

    In dance the morphogenesis can be observed both in the rehearsal room by observing specific interactions of the choreographer and dancer, but also in performance by restricting some parameters and concentrating the observation on specific variables. To access the creation moment, this presentation will use a methodology developed by german dance pedagogue Rolf Gelewski. Gelewski is a disciple of Mary Wigman in the analytical genealogy of Rudolf von Laban.
  3. Rolf GelewskiRolf Gelewski was a dancer and educator born in 1930 in Berlin. Acclaimed by the press in the 50s as a new Harald Kreuzberg, he was sent by Mary Wigman to establish the first contemporary dance education program in the University of Salvador, Bahia, Brazil in the 1960s. His later pedagogical work structured a methodology to access the creative impulse in a dance yoga-like meditation system. His influence also reaches the Auroville community in India. Gelewski was killed in a car accident in 1986.
  4. Summary

    Models for explaining morphogenesis in performance transcend the natural sciences toolkit, still, it can be observed and described. This lecture/demonstration proposes three approaches to observe this phenomena. After exposing these theories a short dance piece will be performed to enable an observation under the aspects of morphogenesis of a moment of creation. This dance piece - "Blue Danube" - presents a frame that constrains the observable phenomenon of improvisation in three parameters: Force, Speed and Timing. An early full video of this dance can be seen here: Danube @ DanceSpace NYC 1986

”What kind of Future do we want to build?” Ricardo Viviani presentation at ArtEZ Arnhem

 

viviani-morphogenesis.pdf

 
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Die Prinzessin auf der Erbse

On 25 Nov 2012, in productions, by ricardo

Erbsen

Die Prinzessin auf der Erbse - das Märchen zur Weihnachtszeit am theaterhagen

Prinz Malte Nils Finn Jannik Søren Jasper soll heiraten. Aber er darf nicht entscheiden, wen! Denn seine Eltern haben genaue Vorstellungen von der zukünftigen Schwiegertochter: Aus einem reichen Königshaus soll sie stammen, sittsam, schweigsam und empfindsam muss sie sein. Aber was ist, wenn der Prinz keine Lust auf‘s Heiraten hat? Schon gar nicht eine unbekannte Königstochter.

Im nahe gelegenen Wald begegnet er Jette. Stark ist sie, klug und selbstständig, ganz anders als alle Mädchen, die er je gesehen hat. Ein bisschen erschreckt sie ihn, denn sie schläft auf dem Boden, lebt alleine, ist ziemlich dreckig und riecht fremd. Trotzdem bringt sie sein Herz zum Rasen. Plötzlich will der Prinz ganz schnell heiraten, nämlich Jette! Aber so einfach geht das nicht. Im Schloss muss Jette erst noch die große Prüfung der Königin bestehen. Doch 20 Matratzen, eine winzige Erbse und ein gut gehütetes Geheimnis des Haushofmeisters Andersen führen schließlich zu einem glücklichen Ende.

theaterhagen

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3. Biennale Tanzausbildung

On 09 Mar 2012, in teacher, by ricardo

Blue Danube revisited for the
 3. Biennale Tanzausbildung


 
 
 
 

Dance is worth every minute


 
  For this performance-installation I revisited a solo I created based on issues I was dealing during my own studies - a lecture with no explanatory texts.
 
 

Blue Danube DanceSpace NYC 1986

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