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 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 290 euros with Pre-Registration, (up to two weeks before starting date). For conditions on taking part, please read the Registration form.
For further Information and to Register:
I was Born in Hungary, where I trained first as a gymnast and continued on to the National Ballet Academy at the age of 11. I completed nine year's of classical ballett training, just as the iron curtain fell. Soon I went to Israel to join the Kibbutz Contemporary Dance Company at the invitation of it's 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 to join 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 the possibilities of dance, it's creation and I let go any of my 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 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.