{"product_id":"dance-imagery-for-technique-and-performance-3rd-edition-epub","title":"Dance Imagery for Technique and Performance 3rd Edition epub","description":"\u003c!-- split --\u003e\u003cul class=\"tabs\"\u003e \u003cli\u003e\u003ca href=\"#tab-description\" id=\"display-description\"\u003eDescription\u003c\/a\u003e\u003c\/li\u003e \u003cli\u003e\u003ca href=\"#tab-tableofcontents\" id=\"display-tableofcontents\"\u003eTable of Contents\u003c\/a\u003e\u003c\/li\u003e \u003cli\u003e\u003ca href=\"#tab-author\" id=\"display-author\"\u003eAuthor\u003c\/a\u003e\u003c\/li\u003e \u003c\/ul\u003e\u003cdiv id=\"tab-description\" class=\"tab-content\"\u003e \u003cp\u003e\u003ci\u003eDance Imagery for Technique and Performance, Third Edition,\u003c\/i\u003e written by renowned master teacher Eric Franklin, provides readers with a deep understanding of how to implement imagery in their dances, improving their skill and artistic expression in both practice and performance.\u003c\/p\u003e\n\u003cp\u003eNow in full color, this edition presents over 900 imagery exercises to refine improvisation, technique, and choreography, with Franklin’s signature artwork throughout. The book features over 200 practical and beautiful illustrations.\u003c\/p\u003e\n\u003cp\u003eUpdates throughout the text reflect the most-up-to-date scientific research in the field, providing readers with a strong foundation to continue refining their dance technique.\u003c\/p\u003e\n\u003cp\u003eThis edition features additional imagery exercises with a wider variety of dance forms and styles, and it includes exercises that can restore and regenerate the body through massage, touch, and stretching. Franklin offers guidance in using imagery to convey information about a dancer’s steps and to clarify the intent and content of movement.\u003c\/p\u003e\n\u003cp\u003eFour audio imagery exercises, narrated by the author himself, guide the reader through meditations to relax and restore the body and mind. These audio exercises promote constructive rest.\u003c\/p\u003e\n\u003cp\u003eImprovisation exercises help readers investigate new inner landscapes to create and communicate various movement qualities, provide guidelines for applying imagery in the dance class, and help dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eDance Imagery for Technique and Performance, Third Edition,\u003c\/i\u003e supplies imagery tools for enhancing or preparing for performance, and it emphasizes 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.\u003c\/p\u003e\n\u003cp\u003eNote: A URL to access the online materials is included in this ebook.\u003c\/p\u003e\n\u003ch4\u003eAudience\u003c\/h4\u003e\n\u003cp\u003eDancers, dance educators, and anyone involved in performing arts and somatic education.\u003c\/p\u003e\n\u003c\/div\u003e\u003c!--end tabDescription--\u003e\u003cdiv id=\"tab-tableofcontents\" class=\"tab-content\"\u003e \u003cp\u003e\u003ci\u003e\u003cb\u003ePart I. Art and Science of Imagery\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eChapter 1.\u003c\/b\u003e History, Theory, and Uses of Imagery\u003cbr\u003eDefining Imagery\u003cbr\u003eHistorical Perspectives\u003cbr\u003eEmerging Theories on Imagery\u003cbr\u003eBenefits of Using Imagery in Dance\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 2. \u003c\/b\u003eTypes and Effectiveness of Imagery\u003cbr\u003eDirect Imagery\u003cbr\u003eTypes of Imagery\u003cbr\u003eImagery Strings\u003cbr\u003eMaking Imagery Effective\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003ePart II. Discovering and Exploring Imagery\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eChapter 3.\u003c\/b\u003e Discovering Imagery\u003cbr\u003eNature\u003cbr\u003eMovies\u003cbr\u003eLiterary Arts\u003cbr\u003eMusic\u003cbr\u003eVisual Arts\u003cbr\u003ePropensity Toward Imagery\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 4.\u003c\/b\u003e Basic Movement Imagery and Exercises\u003cbr\u003eIntention\u003cbr\u003eWhole-Body Sensation\u003cbr\u003eSpace\u003cbr\u003eWeight\u003cbr\u003eMusic and Rhythm\u003cbr\u003eConnections Through the Body\u003cbr\u003eBreath and Flow\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 5. \u003c\/b\u003eImagery in Dance Improvisation\u003cbr\u003eImprovisation and Dance Technique\u003cbr\u003eImprovisation With Children\u003cbr\u003eImagery Improvisation Exercises\u003cbr\u003eContact Improvisation and Imagery\u003cbr\u003eButoh\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003ePart III. Imagery in Dance Technique Classes\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eChapter 6. \u003c\/b\u003eTeaching Dance With Imagery\u003cbr\u003eElements of Making Progress\u003cbr\u003eFunction and Anatomy\u003cbr\u003eEffort and Tension\u003cbr\u003eAlignment Paradox\u003cbr\u003eGuidelines for Teachers\u003cbr\u003eGuidelines for Students\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 7.\u003c\/b\u003e Floorwork, Walking, and Running\u003cbr\u003eFloorwork\u003cbr\u003ePelvis as a Strong Sitting Base\u003cbr\u003eUpper-Body Motion While Sitting\u003cbr\u003eFalls to the Floor\u003cbr\u003eRolls on the Ground\u003cbr\u003eFloor Barre\u003cbr\u003eStillness and Slow Movement\u003cbr\u003eThe Foot\u003cbr\u003eWalking and Running\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 8.\u003c\/b\u003e Plié\u003cbr\u003eForce Absorption in Plié\u003cbr\u003eImagery for Plié\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 9.\u003c\/b\u003e Tendu-Based Movements\u003cbr\u003eBattement Tendu\/Dégagé (Jeté)\u003cbr\u003eRond de Jambe à Terre\u003cbr\u003eBattement Fondu (Demi-Plié on One Leg)\u003cbr\u003eBattement Frappé\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 10.\u003c\/b\u003e Développé and Other Extensions\u003cbr\u003eCreating Smooth Action in the Hip Joint\u003cbr\u003eExtensions to the Back\u003cbr\u003eReleasing Tension, Embodying Fascia\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 11. \u003c\/b\u003eDynamic Balance in Arabesque, Attitude, and Grand Battement\u003cbr\u003eResearch on Imagery for the Plié Arabesque\u003cbr\u003eArt and Science of Balance\u003cbr\u003eGrand Battement\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 12.\u003c\/b\u003e Swings, Arches, and Spirals\u003cbr\u003eSwings and Arches\u003cbr\u003eSpirals\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 13.\u003c\/b\u003e Upper-Body Gestures\u003cbr\u003ePort de Bras (Arm Gestures)\u003cbr\u003eHands\u003cbr\u003eFace\u003cbr\u003eEyes\u003cbr\u003eNeck\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 14.\u003c\/b\u003e Turns\u003cbr\u003eFrom Crawls to Pirouettes\u003cbr\u003eNatural Turners\u003cbr\u003eWhat You Can Learn From a Spinning Top\u003cbr\u003eTurning With the Whole Body\u003cbr\u003eAngular Motion\u003cbr\u003ePhases of Turning in Pirouettes\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 15. \u003c\/b\u003eJumps\u003cbr\u003eSpeed and Leverage\u003cbr\u003eAnatomical Considerations\u003cbr\u003eThe Foot in Jumping\u003cbr\u003eElastic Leaps and Rhythmic Rebound\u003cbr\u003eTraveling Leaps and Turning Leaps\u003cbr\u003eBreathing Before Jumping\u003cbr\u003eArms and Leaping\u003cbr\u003eFloors and Soft Landings\u003cbr\u003eThe Sky Is the Limit\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 16.\u003c\/b\u003e Partnering\u003cbr\u003eRequirements for Partnering\u003cbr\u003eConnecting With Your Partner\u003cbr\u003eUsing Imagery in Partnering\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003ePart IV. Imagery in Choreography, Rest, and Regeneration\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eChapter 17. \u003c\/b\u003eImagery and Performance Quality\u003cbr\u003eExpressivity\u003cbr\u003eAuthenticity\u003cbr\u003eEndowment\u003cbr\u003eMagical Outfit\u003cbr\u003ePerformance Environment\u003cbr\u003eRelationship With the Audience\u003cbr\u003eYour History\u003cbr\u003eStepping Onstage\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChapter 18. \u003c\/b\u003eRest and Regeneration\u003cbr\u003eUsing Your Hands to Cue and Ease\u003cbr\u003eReleasing Touch\u003cbr\u003eConstructive Rest\u003cbr\u003eGuided Imagery\u003cbr\u003eSummary\u003c\/p\u003e\n\u003cp\u003eEpilogue\u003cbr\u003eReferences and Resources\u003cbr\u003eIndex\u003cbr\u003eAbout the Author\u003c\/p\u003e\n\u003c\/div\u003e\u003c!--end tabTableOfContents--\u003e\u003cdiv id=\"tab-author\" class=\"tab-content\"\u003e \u003cp\u003e\u003cb\u003eEric Franklin\u003c\/b\u003e 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.\u003c\/p\u003e\n\u003cp\u003eAfter earning his bachelor of science degree at the University of Zurich and his bachelor of fine arts degree at New York University’s Tisch School of the Arts, Eric Franklin worked for many years as a dancer and choreographer. He developed his groundbreaking Franklin Method based on this training and his teaching experiences, and he has gone on to teach it at numerous universities and schools around the world, including the Juilliard School in New York, Rutgers University, the University of Vienna, the Royal Ballet School and the Laban Dance Center in London, the Zurich Neurological Institute, New York University, the Royal Danish Ballet, the Ballet School of the Zurich Opera, and the American Dance Festival.\u003c\/p\u003e\n\u003cp\u003eFranklin has presented at numerous scientific conferences, including the Interdisciplinary World Congress on Low Back and Pelvic Pain; the International Fascia Research Congress; the British Fascia Symposium; and the conferences of the Pilates Method Alliance, International Association for Dance Medicine \u0026amp; Science, and the National Dance Education Organization. He has also presented at many sport psychology conferences and is involved with research in the field. He is the author of numerous books, including \u003ci\u003eConditioning for Dance\u003c\/i\u003e; \u003ci\u003eInner Focus Outer Strength\u003c\/i\u003e; \u003ci\u003ePelvic Power\u003c\/i\u003e; \u003ci\u003eRelax Your Neck, Liberate Your Shoulders\u003c\/i\u003e; \u003ci\u003eBreathing for Peak Performance\u003c\/i\u003e; and \u003ci\u003eFascia Release and Balance\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eCreated in 1994, the Franklin Method combines dynamic science-based imagery, touch, anatomical embodiment, and educational skills to create lasting positive change in the body and mind as well as improvements in posture, movement, and focus. The Franklin Method uses the Dynamic Neurocognitive Imagery (DNI)™ method for movement and postural control retraining. Eric Franklin’s books and workshops are available in many languages, as are his teacher certifications.\u003c\/p\u003e\n\u003c\/div\u003e\u003c!--end tabAuthor--\u003e","brand":"Eric Franklin","offers":[{"title":"Ebook With Online Resource","offer_id":44009512697930,"sku":null,"price":38.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1281\/4359\/files\/9781718238114.jpg?v=1785764147","url":"https:\/\/us.humankinetics.com\/products\/dance-imagery-for-technique-and-performance-3rd-edition-epub","provider":"Human Kinetics","version":"1.0","type":"link"}