Whether used alone or as a companion to Dynamic Alignment Through Imagery, which establishes a foundation for the techniques described here, this unique guide shows you how to combine technical expertise with imagery skills to enrich your expressive repertoire.
This versatile text and reference provides 583 imagery exercises designed to improve dance technique, artistic expression, and performance. More than 160 illustrations highlight images and exercises you can put to use immediately in your movements and choreography.
Part I explores using imagery with improvisation. You'll find 195 exercises centered on the body's basic movement images. These improvisational exercises will encourage you to explore new inner landscapes to create and communicate different movement qualities.
Part II provides 314 imagery exercises you can immediately use to improve technique. The book also provides guidelines for applying imagery within the dance class repetoire:
Floorwork movements
Standing, walking, running
Ballet barre exercises
Swings, arches, spirals
Upper-body gestures
Turns and pirouettes
Jumping
Partnering
Part III provides imagery tools to enhance or prepare for a performance. You'll learn how to use imagery to convey information about steps and to clarify the intent and content of a movement. In addition, you'll find 40 imagery exercises that focus on active imagination and symbolism, the performance environment, and the audience in the creative process.
Part IV presents 34 exercises to help restore and regenerate the body through guided imagery used with massage and touch. The book details the ideokinetic constructive rest position and Sweigard's nine lines of action.
With Dance Imagery for Technique and Performance, you'll discover how to use the power of your imagination to enhance performances.
AUDIENCE
Textbook for introductory dance and movement classes in colleges and universities. Reference for students and teachers in the performing arts and somatic sciences.
CONTENTS
Part I: Imagery in Improvisation Exercises
Chapter 1. Basic Movement Images and Exercises
Intention Whole-Body Sensation Space Weight Music and Rhythm Connections Through the Body/Energy Breath and Flow
Chapter 2: Imagery and Dance Improvisation
Butoh Improvisation and Dance Technique Improvisation With Children Imagery Improvisation Exercises Contact Improvisation
Part II: Imagery in Dance Technique Classes
Chapter 3. Discovering Imagery
Nature Imagery Movies Literary Arts Music Visual Art Are There Natural Imagers?
Chapter 4. Guidelines for Applying Imagery in a Class Setting
Guidelines for Teachers Guidelines for Students
Chapter 5. Floorwork
Pelvis as a Strong Sitting Base Upper-Body Motion While Sitting Falls to the Floor Rolls on the Ground
Chapter 6. Standing, Walking, Running
Standing Motionless/Very Slow Movement Walking and Running
Chapter 7. Basic Exercises of the Ballet Barre
PliŽ Battement Tendu, Battement JetŽ/DŽgagŽ, Brushes Rond de Jambe par Terre Battement Fondus, PliŽ on One Leg Battement FrappŽs Battement DŽvelopŽ/Extensions Balance, Arabesque, Attitude Grand Battement
Chapter 8. Swings, Arches, and Spirals
Swings and Arches Spirals
Chapter 9. The Upper-Body Gesture: Port de Bras, Neck, and Face
Port de Bras, Arm and Hand Gestures The Face The Eyes The Neck
Chapter 10. Turns and Pirouettes
From Crawl to Pirouettes, From Baby's Roll to Spiral Turns Natural Turners What We Can Learn From a Spinning Top Turning With the Whole Body Phases of a Turn/Pirouette
Chapter 11. Jumping
Speed and Leverage Traveling Leaps, Turning Leaps Breathing for Better Jumping Elastic Leaps and Rhythmic Rebound Arms and Leaping Floors and Soft Landings The Sky Is the Limit
Chapter 12: Partnering
Part III: Imagery in Choreography and Performance
Chapter 13. Psychology, Imagery, and Choreography
Active Imagination Active Imagination in Choreography Guided Affective Imagery When Are Images Symbolic? What Are Archetypal Images?
Chapter 14. Imagery and the Choreographic Process
Spontaneous Imagery Vision for a Dance Framing Choreography as a Sequence of Images Using Imagery to Teach Choreography Choreography That Conveys Imagery Choreographic Mood Image Journal
Chapter 15. Imagery and Performance Quality
Endowment The Magical Outfit The Performance Environment
With or Without the Audience Your History Stepping Onstage
Part IV: Rest and Regeneration
Chapter 16. The Art of Touch and Rest Sessions
Using Your Hands Releasing Touch Constructive Rest Guided Imagery
Epilogue
References
Index
ABOUT THE AUTHOR
Eric Franklin has more than 20 years' experience as a dancer and choreographer. In addition to earning a BFA from New York University's Tisch School of the Arts and a BS from the University of Zurich, he has studied and trained with some of the top movement imagery specialists around the world and used this training as a professional dancer in New York.
Franklin has shared imaging techniques in his teaching since 1986. He is founder and director of the Institute for Movement Imagery Education in Lucerne, Switzerland, and professor of postgraduate studies at the Institute for Psychomotor Therapy in Zurich, Switzerland. He is a guest professor at the University of Vienna (Musikhochschule) and has been on the faculty of the American Dance Festival since 1991. Franklin teaches at universities, dance centers, and dance festivals in the United States and thoughout Europe.
Franklin is coauthor of the bestselling book Breakdance, which received a New York City Public Library Prize in 1984, and author of 100 Ideen fŸr Beweglichkeit and Dynamic Alignment Through Imagery (both books about imagery in dance and movement). He is a member of the International Association of Dance Medicine and Science.
Franklin lives near Zurich, Switzerland, with his wife, Gabriela, and their two children.
WORDS OF PRAISE
"Using imagery brings a greater richness to a dancer's physical technique and expression, and Franklin's book furnishes the creative tools to accomplish this."
Jeanette Stoner
Dancer, choreographer, and teacher
New York City
"Every dancer goes through temporary slumps when it seems hard to find inspiration and when even maintenance is a struggle. Franklin's book combines information and creativity in a way that lends freshness to steps worked on for years. It provides a resource for renewal--a companion, master teacher at your fingertips."
June Balish
Dancer, New York City
"In his exceedingly interesting and original Dance Imagery for Technique and Performance, Eric Franklin has resourcefully drawn from the inner world of imagined experience a rich variety of incentives for feeling movement from the depths of one's being. Images called into action, have the power to release a dancer's full potential."
Ernestine Stodelle
Adjunct Professor, New York University
Author of The Dance Technique of Doris Humphrey and Its Creative Potential and Deep Song: The Dance Story of Martha Graham
"Dance Imagery for Technique and Performance by Eric Franklin, an excellent text for students and teachers, introduces the science of kinetics to teaching and performance. Dancers, teachers, and choreographers will find themselves using this book over and over again."
David Howard, Director
David Howard School of Ballet, New York City
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