Release technique is an umbrella term that encompasses a variety of different corporeal practices that emphasize efficiency of movement in dance. Release work appears as part of a somatic paradigm, whereby subjective, internal experience of the body is valued alongside objective, analytical outside view of it.
"My approach focuses on enlarging mobility potential and the presence inside of it; clarifying structure and function to come to a body which moves from tensegrity structure, a marriage of skeleton and myofascia. Emphasis is placed on breath, alignment, articulation of joints, nullifying tonus, recognition of connective tissue and using floor, gravity, momentum. In general we start small and slow, to end large and dynamic."
In these classes the anatomy of the human body plays a central role. The starting point is that the dancer can move with more clarity when he or she knows and feels his or her body more clearly. The body will be looked upon from different anatomical concepts: musculair system, bones, fascial structure, nervous system, etc; it will be viewed upon in the realm of structure and function, tensegrity will be examined as the structure form of a functional integrated body. It is important the dancer understands that one is able to feel this inside the body, up untill the finest detail.
"In these classes I provide step-by-step information about a certain part of the body, and that can be one joint or a complete fascial train from toes to forehead. The group will be invited to move and dance with this information. I try to emphasize that eventhough this is quite dry and scientific work, during the improvisations we can take our artistic research with that information. The classes provide a lot of information for everybody, because of the moments of movement and the moments of reflection and sharing in the group. The exchange of information makes it possible to get into another viewpoint of the same thing with which one was moving. In this fashion, the body and all of her qualities becomes clear more and more."
Contact improvisation is a contemporary dance form in which, in essence, one moves in contact with the other. The work is hard to describe and is more easily clarified when seen or felt.
"In contact improvisation I use my experience of release technique, experiential anatomy, fundamental movement, the presence training, and tai chi. I focus on a clear and rooted consciousness and a body oriented on tensegrity form and function, to be able to create a duet with one or multiple partners. For being able to playfully go deeper into the body and bring the awareness to clarity and openness this form of dancing is very useful. Space to move is given and received. It is a good training for dancers who want to work with release technique. The dance is a exchange and meeting with people."
Improvisatie voor performance
During these classes we focus on directly improvised performance. By way of a clear presence in the body in the surrounding space, and a consciousness of the connection to the performative aspect of the whole. A sensitive surrender is needed for this approach. It is practiced in solo or group form.
"From my experience with working with dancers, actors and mimers, I can say that this approach is for the experienced performer. Maybe you can imagine one needs a strong base both technically as experientially. Next to that, deeper layers of consiousness about performance need to be accessible, if the performer wants to keep the performance interesting."
In these classes I provide fundamental presence of a performer on stage. Whether it's a musician, an actor or a dancer, the performance needs presence to make it a powerful inspired whole. From the work of Chi Kung, simple groupgames and somatic posture and movementprinciples the student is invited to observe his or her process of experience. Next to the fact that we zoom in on the proces of the individual, the role of that individual in the group and the dynamic of the group is also discussed.
"By bringing the reflective mind to the front, I like to grow a participating and responsible presence. I base my work on what now is popularly known as embodied cognition, an approach of contemporary philosophy, where one sees the body and mind influencing each other This is something that is or needs to be 100% clear for an actor or dancer. At the end of the day, I steer towards a embodied performer. A clarity within the experience of one's own presence, in a space with people in a certain context, a performance for instance."
Stagefighting is exactly what it says: fighting for stage. There is no actual hurting of people, it is a big realistically looking game of pretend. When the technique is properly performed the fighting seems real and besides that, it is a lot of fun.
"Stagefighting is a merging of my love of martial arts and physical theatre. I teach and perform this for several years now to young adults, adults, amateurs and professionals, students and teachers of drama. Basically people work really closely together. One needs to pay attention to their own body, safety, the performance of the techniques, timing, usage of space and the connection to the audience. When all these parts are well worked out in the choreography, and this is performed well, the magic happens, we see an dynamic and hilarious actionscene."
Release technique / Floorwork
Improvisation for performance