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Dance Imagery for Technique and Performance 2nd Edition PDF

Dance Imagery for Technique and Performance 2nd Edition PDF

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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.

    Table of Contents

    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

    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