Dance imagery for technique and performance

394 Pages·2014·44 MB·English

by  Eric N Franklin

Second Edition
Dance Imagery
Technique
for

Performance
and
Eric Franklin
Human Kinetics
Library of Congress Cataloging-in-Publication Data
Franklin, Eric N.
Dance imagery for technique and performance / Eric Franklin. -- Second edition.
pages ; cm
Includes bibliographical references and index.
ISBN 978-0-7360-6788-1
1. Dance--Study and teaching. 2. Improvisation in dance. 3. Imagery (Psychology) 4. Choreography--Study
and teaching. 5. Exercise. I. Title.
GV1589.F73 2013
792.807--dc23
2013014350
ISBN-10: 0-7360-6788-4 (print)
ISBN-13: 978-0-7360-6788-1 (print)
Copyright © 2014, 1996 by Eric Franklin
All rights reserved. Except for use in a review, the reproduction or utilization of this work in any form or by any
electronic, mechanical, or other means, now known or hereafter invented, including xerography, photocopying,
and recording, and in any information storage and retrieval system, is forbidden without the written permission
of the publisher.
The web addresses cited in this text were current as of April 10, 2013, unless otherwise noted.
Acquisitions Editor: Gayle Kassing, PhD; Developmental Editors: Ray Vallese and Bethany J. Bentley;
Assistant Editor: Derek Campbell; Copyeditor: Joanna Hatzopoulos; Indexer: Bobbi Swanson; Permissions
Manager: Dalene Reeder; Graphic Designer: Fred Starbird; Graphic Artist: Julie L. Denzer; Cover Designer:
Keith Blomberg; Photograph (cover): Vadim Goldstein; Photographs (interior): Photos courtesy of Eric
Franklin, unless otherwise noted; © photo Nan Melville (pp. 7, 21, 115, 120, and 127); courtesy of Anne Nordmann
(p. 104); Photographer: Mark Skolsky (pp. 136 and 309); courtesy of Johan Elbers (p. 233); courtesy of Steven Speliotis
(pp. 236 [bottom], 315, and 319); photo courtesy of David A. Fullard, PhD, Photography (p. 244); courtesy of
Frank Gimpaya (p. 312); courtesy of Mike Kentz Photography (p. 326 [top]); Photographer: A. Pal-Bürgisser
(p. 326 [bottom]); courtesy of Arsène Saheurs (pp. 350, 351, 353, 354, and 355 [bottom]); Photo Production
Manager: Jason Allen; Art Manager: Kelly Hendren; Associate Art Manager: Alan L. Wilborn; Illustrations:
© Eric Franklin; Printer: United Graphics
Printed in the United States of America 10 9 8 7 6 5 4 3 2 1
The paper in this book is certified under a sustainable forestry program.
Human Kinetics
Website: www.HumanKinetics.com
United States: Human Kinetics Australia: Human Kinetics
P.O. Box 5076 57A Price Avenue
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Europe: Human Kinetics
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e-mail: [email protected] E4013
Contents
Acknowledgments ix
Introduction xi
I
part
Art and Science of Imagery 1
1 History, Theory, and Uses of Imagery 3
chapter
Defining Imagery 3
Historical Perspectives 4
Emerging Theories on Imagery 5
Benefits of Using Imagery in Dance 8
Summary 24
2 Types and Effectiveness of Imagery 25
chapter
Direct Imagery 25
Types of Imagery 26
Imagery Strings 34
Making Imagery Effective 38
Summary 39
II
part
Discovering and Exploring Imagery 41
3 Discovering Imagery 43
chapter
Nature 43
Movies 44
Literary Arts 44
Music 46
Visual Arts 46
Propensity Toward Imagery 48
Summary 50
iii
iv Contents
4 Basic Movement Imagery and Exercises 51
chapter
Intention 52
Whole-Body Sensation 53
Space 54
Weight 57
Music and Rhythm 60
Connections Through the Body 62
Breath and Flow 64
Summary 65
5 Imagery in Dance Improvisation 67
chapter
Improvisation and Dance Technique 68
Improvisation With Children 68
Imagery Improvisation Exercises 69
Contact Improvisation and Imagery 100
Butoh 104
Summary 105
III
part
Imagery in Dance Technique Classes 107
6 Teaching Dance With Imagery 109
chapter
Elements of Making Progress 110
Function and Anatomy 113
Effort and Tension 117
Alignment Paradox 118
Guidelines for Teachers 119
Guidelines for Students 125
Summary 129
Contents v
7 Floorwork, Walking, and Running 131
chapter
Floorwork 131
Pelvis as a Strong Sitting Base 133
Upper-Body Motion While Sitting 134
Falls to the Floor 136
Rolls on the Ground 138
Floor Barre 139
Stillness and Slow Movement 139
The Foot 140
Walking and Running 143
Summary 148
8 Plié 149
chapter
Force Absorption in Plié 150
Imagery for Plié 158
Summary 169
9 Tendu-Based Movements 171
chapter
Battement Tendu/Dégagé (Jeté) 172
Rond de Jambe à Terre 179
Battement Fondu (Demi-Plié on One Leg) 182
Battement Frappé 187
Summary 188
10 Développé and Other Extensions 189
chapter
Creating Smooth Action in the Hip Joint 190
Extensions to the Back 193
Releasing Tension, Embodying Fascia 194
Summary 204
11 Arabesque, Attitude, and Grand Battement 205
chapter
Research on Imagery for the Plié Arabesque 206
Art and Science of Balance 207
Grand Battement 216
Summary 221
vi Contents
12 Swings, Arches, and Spirals 223
chapter
Swings and Arches 223
Spirals 231
Summary 234
13 Upper-Body Gestures 235
chapter
Port de Bras (Arm Gestures) 235
Hands 247
Face 250
Eyes 252
Neck 254
Summary 256
14 Turns 257
chapter
From Crawls to Pirouettes 257
Natural Turners 259
What You Can Learn From a Spinning Top 262
Turning With the Whole Body 266
Angular Motion 268
Phases of Turning in Pirouettes 269
Summary 285
15 Jumps 287
chapter
Speed and Leverage 288
Anatomical Considerations 293
The Foot in Jumping 297
Elastic Leaps and Rhythmic Rebound 300
Traveling Leaps and Turning Leaps 302
Breathing Before Jumping 306
Arms and Leaping 308
Floors and Soft Landings 309
The Sky Is the Limit 310
Summary 312
Contents vii
16 Partnering 313
chapter
Requirements for Partnering 313
Connecting With Your Partner 314
Using Imagery in Partnering 316
Summary 320
IV
part
Imagery in Choreography, Rest,
and Regeneration 321
17 Imagery and Performance Quality 323
chapter
Expressivity 323
Authenticity 325
Endowment 326
Magical Outfit 328
Performance Environment 330
Relationship With the Audience 333
Your History 334
Stepping Onstage 334
Summary 339
18 Rest and Regeneration 341
chapter
Using Your Hands 342
Releasing Touch 343
Constructive Rest 346
Guided Imagery 357
Summary 360
Epilogue 361
References and Resources 362
Index 368
About the Author 374
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Acknowledgments
I
am most grateful to June Balish, whose intelligent and well-informed advice
significantly contributed to the form and content of the first edition of this
book. A special thank-you goes to Zvi Gotheiner and Martha Myers as well as all
the students of the Franklin Method who continuously inspire me.
I would like to thank my editors at Human Kinetics—Gayle Kassing, Ray Val-
lese, Bethany Bentley, and Derek Campbell—for their excellent work on this book.
They were always responsive to my questions and generously offered their expert
advice and guidance.
I would like to thank many great choreographers, dance and body therapy
teachers, psychologists, and institutions: Margy Beals, Talley Beatty, Andre
Bernard, Remy Charlip, Bonnie Cohen, Mark Dendy, Michael Diekamp, Irene
Dowd, Jan Dunn, Terrence Green, Erick Hawkins, Stuart Hodes, David Howard,
Fumio Inagaki, Betty Jones, Bella Lewitzky, Nancy Lyons, Donald Mckayle, Gloria
Mclean, Daniel Negrin, Lynette Overby, Steve Paxton, Christopher Pilafian, Amos
Pinhasi, Larry Rhodes, Irene Sieben, Billy Siegenfeld, Jeanette Stoner, James
Sutton, Linda Tarnay, Mark Taylor, Jaclynn Villamil, Aleksandr Wilansky, Armin
Wanner, Jan Wodinsky, and the Institute for Franklin Method.
The book’s copious illustrations would not have come into being without the
help of the gifted artist Sonja Burger, with whom I was able to create many of the
drawings. I am also grateful to photographers David Fullard, Mike Kentz, Anne
Nordman, A. Pal-Bürgisser, Dag Bennstrom, Johan Elbers, Frank Gimpaya, Arsène
Saheurs, and Mark Skolsky and to photographic models June Balish, Michael
Diekamp, Chelsea Ainsworth, Monika Möckli, Felicia Norton, Gabriela Steinmann,
Daniel Tai, Laura Thomasson, Cathy Ward, and Laura Hames Franklin.
ix