Dance Improvisations

158 Pages·1987·8.102 MB·English

by  Joyce Morgenroth

Dance Improvisations

DANCE
Joyce Morgenroth
UNIVERSITY OF PITTSBURGH PRESS
Published by the University of Pittsburgh Press, Pittsburgh, Pa., 15260
Copyright © 1987, Joyce Morgenroth
All rights reserved
Feffer and Simons, Inc., London
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Morgenroth, Joyce
Dance improvisations.
Bibliography: p.
Includes index.
1. Improvisation (Dancing) I. Title.
GV1781.2.M67 1987 793.3'2 86-19318
ISBN 0-8229-3550-3
ISBN 0-8229-5386-2 (pbk.)
"Mock Orange" by Karen Brodine is reprinted by permission of the author.
Photographs are by Jon Crispin.
Contents
Preface vii
Acknowledgments ix
Recent History xi
Practical Considerations xv
I. Preliminaries 3
Mirroring. 4 Unison. 7 Active and Passive. 10
Weight Dependency. 13
II. Space 17
Floor Patterns. 17 Distance. 24 Focus. 27 Location. 30
Groupings. 34 Levels. 36 Group Design. 40
Shape and Shape Sequences. 45 Trace Designs. 53
III. Time 59
Pulse. 59 Accent. 61 Metrical Rhythm. 69
Nonmetrical Rhythms. 74 Duration and Speed. 79
IV. Movement Invention 85
Images. 85 Levels of Abstraction. 90 Mood and Character. 95
Types of Focus. 101 Body Parts. 103 Dynamics. 105
Theme and Variations. 108 Props. 112 Sound Accompaniment. 117
List of Improvisations 125
Bibliography 131
Index 135

Preface
his collection of improvisational problems grew out of my teaching college courses
in dance technique, composition, improvisation, and movement for actors, plus sum
mer improvisation workshops. In these classes, I inevitably brought my own under
standing and preferences to the work. These inclinations remain in this book, par
ticularly the two goals I have always sought: invention and its taking shape through
the use of structure. I have aimed, in addition, for this book to be thorough and to
cover all areas that relate to dance and movement for the theater.
The presentation of the improvisational problems varies in format. Some problems
are presented as a single procedure, some as a series of procedures building to a final
development. Occasionally I have included variations. I hope that readers will find
their own variations as well. I have included observations after many of the prob
lems, sometimes to clarify goals, sometimes to prepare the leader for difficulties the
group might encounter, sometimes to generate thought about the work just done.
The ideas presented here offer a starting point and a way to proceed. The rest is
up to the dancers.
One final note. To avoid the awkwardness of "he or she," I have used he and she
alternately as subject.
vii

Acknowledgments
My
thanks go to Peggy Lawler, my colleague at Cornell University, whose inspira
tion over the last twenty years has been immeasurable, from the first dance composi
tion class I took with her to her most recent comments on my writing, and whose
improvisational ideas appear throughout this book; to Jane Mushabac, who read my
manuscript at every stage (on demand), and never failed to have incisive suggestions
for improvement; to Fred Lee, who asked discomforting questions that helped me
give shape to the manuscript; and to Moss Sweedler, whose seemingly casual sug
gestion was the impetus for my writing this book. I also thank Wendy Rogers of
the University of California at Berkeley, Jessica Fogel of the University of Michigan,
and Karen Bell of the Ohio State University for trying out these improvisations in
courses they teach and for their encouragement. An improvisation workshop led by
Richard Bull, Peentz Dubble, and Cynthia Novack is the source of several of the im
provisations that are now among my favorites. Jon Crispin took the excellent photo
graphs. I am grateful for other help I got along the way from Kevin O'Neill, Arnold
Aronson, Les Thimmig, David Borden, Arthur Morgenroth, and my editor, Catherine
Marshall. And since dance improvisation depends finally on the people who are doing
it, I heartily thank my students and fellow dancers.
ix