THE AR­TIS­T'S BODY / Work­shop

The three days mo­ve­ment re­se­arch work­shop fea­tures Gaga/peop­le clas­ses as well as im­pro­vi­sa­ti­on ses­si­ons lead by cho­reo­gra­pher and dan­cer Sma­dar Gos­hen. 

The ses­si­ons will fo­cus on ex­plo­ring a wide ran­ge of phy­si­cal ex­pres­si­on and lin­king bet­ween sen­sa­ti­ons and dis­play­ed mo­ve­ment. Out of get­ting to know our ten­den­ci­es and fa­mi­li­ar pat­terns, we will en­rich our phy­si­cal sen­ten­ti­al vo­ca­bu­la­ry, con­nec­ting to mo­ve­ment which is both or­ga­nic and li­mits’ ex­pen­ding. 

Gaga is the mo­ve­ment lan­guage crea­ted by Ohad Naha­rin. Gaga/peop­le clas­ses of­fer a frame­work for users to con­nect to their bo­dies and ima­gi­na­ti­ons, ex­pe­ri­ence phy­si­cal sen­sa­ti­ons, im­pro­ve their fle­xi­bi­li­ty and stami­na, ex­er­ci­se their agi­li­ty and ex­plo­si­ve power, and en­joy the plea­su­re of mo­ve­ment in a wel­co­m­ing, ac­cep­t­ing at­mo­s­phe­re.

Sma­dar Gos­hen is a dan­cer, cho­reo­gra­pher and a tea­cher. As a cer­ti­fied Gy­ro­to­nic and Gy­ro­ki­ne­sis trai­ner as well as a Gaga tea­cher, she is sen­si­ti­ve to the per­so­nal-in­di­vi­du­al ex­pres­si­on of dif­fe­rent bo­dies, which co­lours her ap­proach when working with dan­cers in the stu­dio. She com­ple­ted her ba­che­lor's de­gree in dance and her mas­ter's de­gree in cho­reo­gra­phy at the Je­ru­sa­lem Aca­de­my for Mu­sic and Dance. Born in Is­ra­el, she shifted her cen­ter of li­ving and working to Stutt­gart in 2019.

Sin­ce 2011, she has been crea­ting and per­forming her pie­ces around the world on va­rious plat­forms.In the cur­rent year­book of the ma­ga­zi­ne tanz, Gos­hen was ho­no­u­red as one of the 10 most pro­mi­sing dance pioneers in Ger­ma­ny. In the 2024/25 sea­son, she is in­vi­ted to take part of the re­si­den­cy pro­gram­me of the Ré­seau GRAND LUXE net­work with spe­cial sup­port from the Thea­ter Frei­bur­g's dance de­part­ment.

Of­ten it is our ha­bits and pat­terns of ac­tion that gui­de us. They ma­ni­fest them­sel­ves in the en­t­i­re or­ga­nism and do­mi­na­te our ac­tions and ac­tivi­ties - we of­ten hard­ly know them. But es­pe­ci­al­ly in the crea­ti­ve pro­cess it is im­portant to keep op­ti­ons open, to act calm­ly and with awa­reness in or­der to de­ci­de free­ly and con­struc­tively.

A first step can be to get to know the­se ha­bits in or­der to ex­pe­ri­ence more in­te­gra­ti­on of fee­ling, thought and phy­si­cal ex­pres­si­on. The qua­li­ty of the con­nec­tion bet­ween head, neck and spi­ne plays a spe­cial role. Ac­cord­ing to F.M. Alex­an­der, it de­fi­nes the qua­li­ty of all mo­ve­ments. In this cour­se we will fo­cus on es­sen­ti­al are­as of the Alex­an­der Tech­ni­que:

• Who was Alex­an­der and what did he find out?
• How can I sta­bi­li­ze my pel­vis in the tor­so?
• What do my feet have to do with it?
• How do I achie­ve free mo­bi­li­ty in my arms and legs?
• And what does my breat­hing have to do with it?
• What is outer mo­ve­ment and what is in­ner mo­ve­ment?
• What is pre­sence and how can I find peace?

We will work on and ex­plo­re the­se and other ques­ti­ons theo­re­ti­cal­ly and as much as pos­si­ble prac­ti­cal­ly to ex­pe­ri­ence Alex­an­der's princi­ples in a re­le­vant and joy­ful way. In do­ing so, I will gui­de what is usual­ly taught through the hands of the tea­cher in a com­pre­hen­si­ble way. Ba­sics of ana­to­my, phy­sio­lo­gy and psy­cho­lo­gy will play a role as well as in­te­res­ting fac­ts from the la­test re­se­arch.
Plea­se note the fol­lo­wing:

• Plea­se wear com­for­ta­ble clot­hing.

Be Here Now! is for all tho­se who wish live more in the pre­sent, make clea­rer mo­men­ta­ry de­cisi­ons and in­stanta­ne­ous­ly com­po­se stun­ning ex­pres­si­on. Star­ting with phy­si­cal and men­tal ex­er­ci­ses of the Ac­tion Thea­ter™ me­thod, you ex­pand your per­cep­ti­on of the pre­sent. You in­te­gra­te the ex­pe­ri­ence of space into your per­cep­ti­on. Your body awa­reness re­fi­nes, you be­co­me awa­re of the dif­fe­rent qua­li­ties of at­ten­ti­on. The more you be­co­me awa­re of whe­re your at­ten­ti­on goes, the de­eper you dive into the pre­sent. Once you learn to stay pre­sent in chal­len­ging mo­ments, the un­ex­pec­ted hap­pens. Chan­ge be­co­mes pos­si­ble, not be­cau­se you wan­ted it, but pre­cise­ly be­cau­se you have aban­do­ned the de­si­re to chan­ge.

 

Sten Rud­strom, Im­pro­vi­ser/per­for­mer/cho­reo­gra­pher,  Ber­lin. He foun­ded Ac­tion Thea­ter™ Ber­lin; two im­pro­vi­sa­ti­on en­sem­bles: Streu­gut; and EAT (In­ter­na­tio­nal Ac­tion Thea­ter En­sem­ble). Re­cent per­for­man­ces: SAAL FREI/ Stutt­gart (2021); ONCE! Fes­ti­val/Frei­burg (2019); 48Hours Neu­kölln (2020). He is the ar­tis­tic di­rec­tor of the NOW! Fes­ti­val of Im­pro­vi­sa­ti­on/Ber­lin; Jury Award Win­ner 2022 Solo/Duo Fes­ti­val, Bar­nes Crossing /Köln; and sup­por­ted by Fonds Dar­stel­len­de Küns­te, and Dis-Tan­zen Solo. His work­shops are ex­ci­ting and chal­len­ging.

Plea­se re­gis­ter bin­din­gly at tab@orga.hfmdk-frank­furt.de un­til 14 days be­fo­re the start of the work­shop. Plea­se sta­te your name, cour­se of stu­dy, de­part­ment and se­mes­ter num­ber in the mail. All cour­ses will again take place in pre­sence with mask.

Due to the li­mi­ted num­ber of par­ti­ci­pants, ear­ly re­gis­tra­ti­on is re­com­men­ded. The in­di­ca­ted cour­se times in­clu­de breaks. You will be in­for­med by mail about short-term chan­ges of the cour­se dates. Par­ti­ci­pa­ti­on on in­di­vi­du­al days is only pos­si­ble by pri­or ar­ran­ge­ment with the work­shop lea­ders.

The work­shops are ai­med at stu­dents and lec­tu­rers from all de­part­ments.

Par­ti­ci­pa­ti­on in the work­shops and in the of­fe­rings of THE AR­TIS­T'S BODY / dai­ly can be credi­ted as cour­se work in the cor­re­spon­ding mo­du­les.

Due to a li­mi­ted num­ber of par­ti­ci­pants, ear­ly re­gis­tra­ti­on is re­com­men­ded. The in­di­ca­ted cour­se times in­clu­de breaks. You will be in­for­med by mail about short-term chan­ges of the cour­se dates. Par­ti­ci­pa­ti­on on in­di­vi­du­al days is only pos­si­ble by pri­or ar­ran­ge­ment with the work­shop lea­ders.