The mosaic of dance improvisation is built from pieces of the inner world of the dancer.
What is improvisation? Improvisation, as a multi layered and ambiguous phenomenon, differs by a wide variety of definitions and implies instantaneousness, spontaneity, responsiveness, process, research. S. Nowak, in his article on improvisation, gives the following definition: “Improvisation is a choice among the opportunities present at the moment, as opposed to the performance of a certain material chosen in advance.” It’s no wonder that improvisation is called “dance in the present”, “spontaneous choreography,” embody when it comes. ” And, nevertheless, any improvisation has its limits and obeys certain laws that establish the theme chosen for improvisation.
Improvisation is, first of all, Exploring the possibilities of the body, aspects of movement, fantasy, imagination, etc. In addition, improvisation in a sense is a way of knowing yourself, self-affirmation, self-expression not only for a professional dancer, but also for an ordinary person who does not have professional training. Remember your feelings from children’s games, when the whole game in “mother’s daughters or a shop is in its essence the most correct form of spontaneous improvisation, for a child spontaneity is a natural form of existence, the same sense of self and the study of one’s own experience need to be introduced into dance improvisation. Improvisation implies deep inner work, requires the development of personality, individuality, and these differ from “pure dance technique.” Improvisation requires a change in thinking, a special attitude towards one’s body, a personal story, To inner impulses, which, in a sense, become “co-authors of improvisational dance”. “A person’s life begins to change when he begins to realize himself.” It is “mindfulness” that gives impetus to improvisation, a rejection of stereotypes of existence.
Improvisation in any form and manifestation is one of the most important sources of new movements, dance vocabulary, technique, ideas, and a principled new vision of choreography, get it now. The maximum concentration of one’s own consciousness allows one to look deeply into oneself and helps to know not only the possibilities of the body, but also of one’s own thinking and imagination. Each person is individual, and that which generates his creative thinking in the process of improvisation is unique and unique. Spontaneity. Where does the material come from for improvisation? It is the interaction of sensations, imagination and memory.
Another goal of improvisation is to achieve the coexistence of various areas of experience, including those that our language can not describe – states that can not be named, at best, we can call them “states of the spirit.” When we act with an open mind, when different areas of inner experience have the opportunity to express themselves through the body, voice or words, then we are spontaneous. We can go through various physical and emotional states, through understanding and exaltation, dreams and fantasies, and thanks to this various phenomena are built in a new, unusual order. When we begin to explore the forms of expression – movement, Sound or speech – we begin to be more aware of our relationship with our own experience. Clearly, we are not our experience. We are the consciousness that is watching the process. We are not our senses. Feelings, emotions and thoughts pass through us. When we laugh, we are not laughing, we are living laughter; We are aware of it; We hear and feel it. At some point we realize that we are laughing, we notice the space between our consciousness and laughter – between the one who acts and the action itself. During improvisation, some personal experience may unexpectedly surface. We have a choice – to allow images or feelings to manifest themselves or send them back to the shadow side of the soul. If under the influence of fear, we suppress this material, then we have to remain within the limits of limitations. When we are able to freely explore our psyche, Opportunities become endless.
The all-encompassing panic over the fact that we have nothing to say is becoming a panic, with which we begin to play in this pole dancing. We recognize the “blind”, unknown spots that were previously hidden. The content of improvisation. The task in improvisation is not only to perform some actions, but also to treat them at the moment of their appearance. This is true for all actions – movement, speech or sound. How does an improviser live this action at the moment it appears? What is the expression on his face, the tension in his body, the focus and energy of his gaze? That’s what I mean: take a simple gesture. Maybe it will be a swing of the hand. Pay attention to how you do it, because you will need to repeat it again and again. Each time, repeating this gesture, change the direction of view – from the bottom up, To the side, diagonally. Now, start each time to change the facial expression, or the level of tension in the body. You feel this gesture in different ways, do not you? Ask your friends to do the same, so that you can observe the changes in content.