with Tamas Moricz
This Workshop will lead you to a better understanding on how to create at a high level of artistry. We'll work towards precision, articulacy and defining your authentic performing qualities. You'll learn to dance with clear and generous movement, remember choreography faster and improve the sense of your body in motion. It will also help you make better use of your already existing dance knowledge.
During the course we'll work with ideas that result in complex movements and better your sense of coordination and balance/off-balance. We will use Improvisational Modalities that give choreographic results. Room Writing, Folding, Bridging, Extrusions, Inclinations, Point/Point-line, Isometries, Shearing, Transparencies, 'Laban-box, Cross-hemispheric exercises etc. will enable you to specifiy movement quality and demontstrate them with precision. Through further examining Dynamics, Momentum, Direction, Velocity, Rhythm, etc. we will learn to use their influences and to construct them into choreographic structures.
The course gives a new approach towards dance education. It steers away from didactic training and instead uses a method that reinforces and educate the nervous system. The method creates a higher level of awareness towards the body in motion. A clear sense of movement is usually achieved by repetitive training during a long period. However with the method I present a sense of the body and it's workings are already applied towards the learning process and achieve a very high level of articulacy and artistic grace.
The training makes use of the nervous system in such a way that it reduces training time as well as makes the newly learnt ideas much more stable. The new information, becomes easy to recuperate even after a prolonged absence of training. ( It becomes an automatic sense of movement, such as during bicycling, walking, examples where you don't have to pay attention, your body simply does it without specific attention to it. ) You become aware of what are "the right way of doing certain movements" This automatic sense of movement, as well as a certain flow of focus is applied towards detailed and explained dancing. Learning first to keep rigor of a simple focus challenges the way how to pay attention to detail yet it also allows for a full range of movement. They both are needed and applied to retaining only one principal idea. This simple "tool" needs a certain focus to retain its quality as well as it's clarity. Once that focus is achieved and becomes consistent it's then applicable to different rigor as well as any style of dancing. This is where the real training begins. Different tools, ideas ( so called improvisational modalities) are practiced until the body gets a sense of flowing your focus from one particular rigor to another and at the same time maintaining freedom of creativity. This gives clear intention in the dancers mind. ( ie. I hold my hand in a certain form. ) while it also gives a clear visual information to the audience, ( this dancer is showing me the form of his hand, while he's able to move freely. ) The audience sees a clear intention as well as a wide range of generous movements. Once both rigor and freedom of movement are easily applicable, creative work becomes more articulate as well as visually explained and graceful.
There is a sense of movement that isn't coming from conscious directive, but is an innate sense of flow, musicality, rhythm and dynamics. This sense of movement however is very reliable. It's always uniquely individual and it is always there in each of us, even in those who have never trained to dance or to perform. Its a sense that produces great satisfaction and joy. Dancing freely allows joy to flow without the judgement towards the from or flow that we create. It's an immediate response to immediate impulses. There is no fixed form only an innate sense of movement that we all possess.
To make use of this innate sense of movement and to apply it during the learning process is my entry into dance training. To reach a creative state where this sense of movement can be applied towards clarity of form or the rigors of any style of dance.
This un-judgemental state of moving allows for freedom, risk taking and unfamiliar happenstances to take effect. Movement need not be aesthetic or expertly coordinated. It needs to be only authentic. It is however often more more generous and graceful.
Applying freedom of movement to rigor and precision are essential tools during the process of learning dance.
Their mastery assures the road to excellence. Achieving clarity of lines and form, yet allowing for freedom of movement, learning to create a Flow of Focus.
Understanding when and how to allow happenstance to take it's effect. A precise use of form. Use of the body's own workings during movement. Happenstances, happy accidents.
Precision towards any choreographic structure while retaining freedom of expression , timings, dynamics and an authentic sense of movement.
The main benefit of this type of improvisation is to arrive at a fluid state of creativity, where you can make better split-second decisions and use them to articulate your individual qualities. Seeing movement this new way will greatly improve your improvisation skills, choreographic practice and dance technique, regardless of style.
The course offers you high quality knowledge that leads to a state in which the body does the thinking and your movements will become clear and graceful. You will learn to use and respect the sense of each movement without "interpreting" it.
The workshop is based on ideas that William Forsythe and the Ballett Frankfurt used to develope their works.
The week long workshop is 250 euros with Pre-Registration, (up to two weeks before starting date). 290 euros afterwards or without Registration. For conditions on taking part, please read the Registration form.
For further Information and to Register:
I was Born in Hungary, training first as a gymnast and continuing on to the National Ballet Academy at the age of 11. I completed nine year's of classical ballett training and soon after joined the Kibbutz Contemporary Dance Company at the invitation of its founder Jehudit Arnon. She gave me opportunities to dance in the works of Mats Ek and Jiri Kylian and the different world of modern dance opened up to me.
After enjoying the best of the company and Israel, I went on a year long world-tour with Jan Fabre's group Troubleyn as part of the performance "Da Un Altra Faccio del Tempo". ( This group has launched the solo careers of choreographers Antony Rizzi, Emio Greco and Marc Vandrux as well. )
Next up I was invited by William Forsythe to join his seminal Ballett Frankfurt. The following eight years, working with the company and learning how to Improvise, I gained a new understanding on dance, its creation, it's artistic possibilities and I let go of any rigid ballet training. I entered into a new phase of creativity and a sense of high artistry. For the first time I enjoyed the creative process as much as performing. Apart from Forsythe I also got to work with some well known choreographers and artists such as Saburo Teshigowara, Jacopo Godani, Antony Rizzi, Mike Figgis, Ryuichi Sakamoto, Crystal Pite, Amanda Miller, Jonathan Burrows, and many others.
The valuable knowledge I've gained and sense of creative freedom is what I aim to bring further and share with my students.
In more recent years, I've had the great fortune to teach at many of todays best aceademies: the Palucca Hochschule Dresden, the Boston Conservatory of Music and Performing Arts, the Royal Academy of Antwerp, P.A.R.T.S Bruxelles, Codarts Rotterdam, the DANCE Apprentice program, the Venice Biennale, Tokyo ArchiTanz, Korean National University of the Arts, University of Istanbul, Mimar Sinan, Yildiz, Frankfurter Hochschule etc. and companies such as the Cullberg Ballett, Angelin Preljocaj Co, the Skanes Dansteater and others.
My aim in teaching is to lead dancers and performers to become more aware of their individual possibilities and free themselves from any perceived limitations.