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Dance Imagery for Technique and Performance 2nd Edition eBook

Dance Imagery for Technique and Performance 2nd Edition eBook

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    Ebook

    Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance.

    These features are new to this edition:

    • Two chapters include background, history, theory, and uses of imagery.
    • 294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance.
    • 133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance.
    • Four exercises taught by Franklin and available on HK’s website help dancers with essential rest and relaxation techniques.

    Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer’s steps and to clarify the intent and content of movement.

    This new edition of Dance Imagery for Technique and Performance can be used with Franklin’s Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique.

    Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance.

    This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin’s method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin’s method is detailed.

    The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.

    Audience

    Reference for dancers and text for undergraduate dance students taking improvisation, choreography, and dance technique courses. Reference for dance educators in performing arts and somatic education.

    Table of Contents

    Acknowledgments
    Introduction

    Part I. Art and Science of Imagery
    Chapter 1. History, Theory, and Uses of Imagery
    Defining Imagery
    Historical Perspectives
    Emerging Theories on Imagery
    Benefits of Using Imagery in Dance
    Summary

    Chapter 2. Types and Effectiveness of Imagery
    Direct Imagery
    Types of Imagery
    Imagery Strings
    Making Imagery Effective
    Summary

    Part II. Discovering and Exploring Imagery
    Chapter 3. Discovering Imagery
    Nature
    Movies
    Literary Arts
    Music
    Visual Arts
    Propensity Toward Imagery
    Summary

    Chapter 4. Basic Movement Imagery and Exercises
    Intention
    Whole-Body Sensation
    Space
    Weight
    Music and Rhythm
    Connections Through the Body
    Breath and Flow
    Summary

    Chapter 5. Imagery in Dance Improvisation
    Improvisation and Dance Technique
    Improvisation With Children
    Imagery Improvisation Exercises
    Contact Improvisation and Imagery
    Butoh
    Summary

    Part III. Imagery in Dance Technique Classes
    Chapter 6. Teaching Dance With Imagery
    Elements of Making Progress
    Function and Anatomy
    Effort and Tension
    Alignment Paradox
    Guidelines for Teachers
    Guidelines for Students
    Summary

    Chapter 7. Floorwork, Walking, and Running
    Floorwork
    Pelvis as a Strong Sitting Base
    Upper-Body Motion While Sitting
    Falls to the Floor
    Rolls on the Ground
    Floor Barre
    Stillness and Slow Movement
    The Foot
    Walking and Running
    Summary

    Chapter 8. Plié
    Force Absorption in Plié
    Imagery for Plié
    Summary

    Chapter 9. Tendu-Based Movements
    Battement Tendu/Dégagé (Jeté)
    Rond de Jambe à Terre
    Battement Fondu (Demi-Plié on One Leg)
    Battement Frappé
    Summary

    Chapter 10. Développé and Other Extensions
    Creating Smooth Action in the Hip Joint
    Extensions to the Back
    Releasing Tension, Embodying Fascia
    Summary

    Chapter 11. Arabesque, Attitude, and Grand Battement
    Research on Imagery for the Plié Arabesque
    Art and Science of Balance
    Grand Battement
    Summary

    Chapter 12. Swings, Arches, and Spirals
    Swings and Arches
    Spirals
    Summary

    Chapter 13. Upper-Body Gestures
    Port de Bras (Arm Gestures)
    Hands
    Face
    Eyes
    Neck
    Summary

    Chapter 14. Turns
    From Crawls to Pirouettes
    Natural Turners
    What You Can Learn From a Spinning Top
    Turning With the Whole Body
    Angular Motion
    Phases of Turning in Pirouettes
    Summary

    Chapter 15. Jumps
    Speed and Leverage
    Anatomical Considerations
    The Foot in Jumping
    Elastic Leaps and Rhythmic Rebound
    Traveling Leaps and Turning Leaps
    Breathing Before Jumping
    Arms and Leaping
    Floors and Soft Landings
    The Sky Is the Limit
    Summary

    Chapter 16. Partnering
    Requirements for Partnering
    Connecting With Your Partner
    Using Imagery in Partnering
    Summary

    Part IV. Imagery in Choreography, Rest, and Regeneration
    Chapter 17. Imagery and Performance Quality
    Expressivity
    Authenticity
    Endowment
    Magical Outfit
    Performance Environment
    Relationship With the Audience
    Your History
    Stepping Onstage
    Summary

    Chapter 18. Rest and Regeneration
    Using Your Hands
    Releasing Touch
    Constructive Rest
    Guided Imagery
    Summary

    Epilogue
    References and Resources
    Index
    About the Author

    About the Author

    Eric Franklin is director and founder of the Institute for Franklin Method in Wetzikon, Switzerland. He has more than 35 years of experience as a dancer and choreographer, and he has shared imagery techniques in his teaching since 1986.

    Franklin has taught extensively throughout the United States and Europe at the Julliard School in New York, Royal Ballet School in London, Danish Ballet in Copenhagen, Dance Academy of Rome, and Institute for Psychomotor Therapy in Zurich. He was also a guest lecturer at the University of Vienna. He has provided training to Olympic and world-champion athletes and professional dance troupes such as Cirque du Soleil and the Forum de Dance in Monte Carlo. Franklin earned a BFA from New York University's Tisch School of the Arts and a BS from the University of Zurich. He has been on the faculty of the American Dance Festival since 1991.

    Franklin is coauthor of the best-selling book Breakdance, which received a New York City Public Library Prize in 1984, and author of 100 Ideen für Beweglichkeit and Dance Imagery for Technique and Performance (both books about imagery in dance and movement). He is a member of the International Association for Dance Medicine and Science.

    Franklin lives near Zurich, Switzerland.

    Reviews

    The Franklin method has proved invaluable to our students at the Juilliard School in New York City for the past several years. Learning how to use mental imagery and functional anatomy for dance augments our training program beautifully because it is clear, precise, and useful in every way for any dancer. The students have found it revelatory!

    Lawrence Rhodes--Director of the Dance Division, The Juilliard School