The objective of this training is to propose a work of revision of the habitual body and its mental structures, which allow us to change in areas of perception of our own state and the state of others. To offer a deep and calm work that provides us with tools to advance in our individual baggage on stage for both dancers and actresses.
I also want to raise some questions that make us reflect about our body and our movement: What generates our movement? How do we move? What is stillness? How do we feel? Is it possible to read a body? Is it possible to write with the body? How can we let the body think for itself? Is it possible to perceive our body as when we were children? And also to do laboratory work that allows us to understand how to elaborate a simple composition.
The training that I do and teach regularly since 1986, is a personalized training inspired by the Body Weather Laboratory in Tokyo created in 1973 by Min Tanaka, teacher and Butoh dancer with whom I trained and danced.
Body Weather, translated as body climatology, is a comprehensive holistic training and performance practice that investigates the intersections of the body and its environment. Bodies are not conceived of as fixed and separate entities, but are, in the same way as meteorological weather, constantly changing through an infinite and complex system of processes happening inside and outside of those bodies. As a training system, it is useful for anyone interested in the exploration of the body and physical presence, and can be considered as a practice close to various types of dance and theater. There are no prerequisites to perform it, the only requirement is to take the
work seriously and rigorously.
Body Weather gives us the possibility to re-examine established patterns and make them new, to apprehend and understand our movement more than learning to move, to explore our limits and cross them, to perceive the environment from the skin as when
we were babies, to develop our imagination without fear, to capture its images and to be able to remember and elaborate our own dance without fear.
Approximate breakdown of the day to day:
1. M.B.: Movement with music. We will look at the relationship between mind, bones, joints and energy utilization. We will work on the coordination of the body in movement. The relationship between strength and flexibility; and our relationship with the earth.
2. Manipulation: Partner exercises performed with breathing aimed at deepening stretching, body alignment and notions of relaxation.
3.Exploration work that includes among others: segmentation of movement, study of different speeds in relation to the body and space, notion of real time and stage tempo, exercises of perception, sensitivity and sensory development. Listening to the space outside and inside the body. Development of the imagination through multiple exercises to activate it.
4. Basic notions of composition from images.