Movement Chart 1341 (Weeks 1-5) PDF

+-----------------+-----------------+-----------------+-----------------+ | **Dancer / | **Birth / | **Movement | **Accomplishmen | | Choreographer** | Death** | Qualities** | t** | | | | | | |...

+-----------------+-----------------+-----------------+-----------------+ | **Dancer / | **Birth / | **Movement | **Accomplishmen | | Choreographer** | Death** | Qualities** | t** | | | | | | | | **Nationality** | | | +=================+=================+=================+=================+ | Francois | 1811-1871 | Very strict, | Delsarte System | | Delsarte | (French) | static, | of Expression | | | | prescribed, | | | | | textbook of | Movement | | | | expression | intended for | | | | | actors | | | | | | | | | | Every eye | | | | | direction, arm | | | | | height, | | | | | inclination of | | | | | the head had a | | | | | specific | | | | | meaning | | | | | | | | | | (There were no | | | | | acting schools) | +-----------------+-----------------+-----------------+-----------------+ | Jacques | 1865-1950 | Musical, | Dalcroze | | Dalcroze | (Swiss) | embodying time | Eurhythmics | | | | signatures and | | | | | tempo | Connection | | | | | between | | | | | movement and | | | | | music and a | | | | | focus on | | | | | embodying music | | | | | | | | | | Liked to use | | | | | props such as | | | | | balls, scarves | | | | | to represent | | | | | music in three | | | | | dimensions | | | | | | | | | | His work is | | | | | foundation | | | | | rhythmic | | | | | gymnastics | +-----------------+-----------------+-----------------+-----------------+ | Genevieve | 1857-1934 | Simple | Student of | | Stebbins | (American) | movements | Delsarte, and | | | | exercises | she taught his | | | | (called | system of | | | | drills) combine | expression | | | | d | | | | | with music | She adapted | | | | | Delsarte's work | | | | Created to | to her own | | | | emphasize poise | movement | | | | and grace | preferences | | | | | | | | | Her movement | Genevieve | | | | drills were | Stebbins System | | | | graceful, | of Physical | | | | fluid, | Training | | | | incorporating | | | | | breath, weight | Taught movement | | | | shifts, not | to actors but | | | | traditional, | also housewives | | | | experimental, | | | | | bodily autonomy | Orientalist | | | | | qualities to | | | | | some movements | | | | | | | | | | Established the | | | | | New York School | | | | | of Expression | +-----------------+-----------------+-----------------+-----------------+ | Isadora Duncan | 1877-1927 | Movement | Rejected the | | | (American) | originated from | strict ideas of | | | | the solar | ballet | | | | plexus | | | | | | Embraced dress | | | | Flowing, | reform for | | | | musical, | women (no | | | | curving, | corsets) | | | | sinuous | preferring | | | | | flowing robes, | | | | Influenced by | rejected | | | | elements | marriage | | | | (water, wind, | | | | | air) | Her movement | | | | | reflected | | | | Inspired by | teachings of | | | | Greek statues | Delsarte and | | | | and friezes | Dalcroze's | | | | | musicality | | | | | however her | | | | | movement style | | | | | was freer and | | | | | moved through | | | | | space | | | | | | | | | | Embraced the | | | | | natural body, | | | | | in nature | | | | | | | | | | Movement came | | | | | from internal | | | | | emotions not | | | | | from a set | | | | | narrative or | | | | | fairy tale | | | | | | | | | | Set up schools, | | | | | adopted young | | | | | girls as her | | | | | daughters and | | | | | acolytes, | | | | | "Isadorables" | +-----------------+-----------------+-----------------+-----------------+ | Ruth St. Denis | 1879-1968 | Expressive and | "Miss Ruth" | | | (American) | theatrical  | | | | | | Vaudeville | | | | Embraced | performer | | | | splunder and | | | | | spectacle  | Inspired by a | | | | | cigarette | | | | Movement | poster to | | | | elements in | create | | | | relation to | choreography | | | | musical | based on | | | | elements - | "Eastern" | | | | music | motifs | | | | visualization  | | | | | | "Egyptian" | | | | Poster | dances, | | | | inspiration  | "Indian" | | | | | dances, | | | | Orientalist  | "Chinese" | | | | | dances -- | | | | Flowing, | capitalizing on | | | | mysterious, | fascination | | | | gestural, | with the East, | | | | sensual | goddesses, and | | | | | the occult | | | | | | | | | | Successful | | | | | school in Los | | | | | Angeles | +-----------------+-----------------+-----------------+-----------------+ | Ted Shawn | 1891-1972 | | Was Ruth St. | | | (American) | | Denis' dance, | | | | | life and | | | | | business | | | | | partner (they | | | | | ran a school | | | | | together) | | | | | | | | | | He wrote a book | | | | | based on | | | | | Delsarte's | | | | | movement "Every | | | | | Little Gesture" | | | | | | | | | | Choreographed | | | | | dances based on | | | | | Native American | | | | | stories and | | | | | spiritualities | | | | | | | | | | He started his | | | | | all-male dance | | | | | company "Ted | | | | | Shawn and his | | | | | Dancers" based | | | | | out of Jacob's | | | | | Pillow | | | | | | | | | | Fascinated with | | | | | the "Other" | | | | | stronger | | | | | movement | | | | | qualities, | | | | | based in | | | | | expression | +-----------------+-----------------+-----------------+-----------------+ | Doris Humphrey | 1895-1958 | All movement | A student of | | | (American) | stems from the | the Denishawn | | | | idea of "fall | School | | | | and recovery" | | | | | or "fall and | Featured | | | | suspend"  | dancer, later a | | | | | teacher and | | | | 3 divisions - | choreographer | | | | opposition, | at the | | | | succession, and | Denishawn | | | | unison  | School | | | | | | | | | Tension and | She then | | | | relaxation | branched out | | | | | after Charles | | | | Free and flowy  | Weidman | | | | | suggested she | | | | Less structured | pursue her own | | | | than Martha | approach to | | | | Graham\'s but | movement | | | | still | | | | | structured | Moved to New | | | | | York to start | | | | Inspired by | her own school | | | | breath, | | | | | flowing, | | | | | shifting of | | | | | weight | | | | | | | | | | Also order, | | | | | balance and | | | | | harmony | | +-----------------+-----------------+-----------------+-----------------+ | Martha Graham | 1894-1991 | Contract and | A student of | | | | release  | the Denishawn | | | (American) | | School | | | | Basic human | | | | | movement  | Her father was | | | | | an alienist | | | | Sharp, angular, | (early type of | | | | direct  | psychiatrist) | | | | | | | | | Structured - | *Not* a | | | | set exercises  | featured dancer | | | | | with a | | | | Story | Denishawn | | | | telling based | company | | | | often on mythic | | | | | women | Strongly | | | | | opposed to | | | | Abstract | ballet, to | | | | movement  | movement that | | | | | was artificial, | | | | Feminist  | or faked | | | | | | | | | Main component | "Movement never | | | | of her movement | lies" | | | | technique is | | | | | contraction and | Movement draws | | | | release. | on our | | | | | emotions, | | | | Movement is | connected to | | | | curved, forced, | our soul and/or | | | | cathartic, | traumatic | | | | angular, | experience | | | | tension, | | | | | full-bodied, | She formulated | | | | emotionally | the Graham | | | | invested. | Technique, | | | | | began her own | | | | | school and | | | | | company in New | | | | | York | | | | | | | | | | She | | | | | collaborated | | | | | with avant | | | | | garde artists, | | | | | designers, | | | | | actors, | | | | | composer | +-----------------+-----------------+-----------------+-----------------+ | Katherine | 1909-2006 | Dunham | American | | Dunham | | technique | dancer, | | | (American) | focuses on the | choreographer, | | | | isolation of | anthropologist, | | | | individual body | and social | | | | parts, in | activist. | | | | preparation for | | | | | execution of | Dunham received | | | | poly-rhythmic / | her Bachelor's, | | | | polycentric | Master's, and | | | | movement | Doctoral | | | | structures | degrees in | | | | based on | anthropology | | | | African dance | from the | | | | and music. | University of | | | | | Chicago, and | | | | Her technique | later did | | | | combined | extensive | | | | Caribbean | anthropological | | | | dances, | study in the | | | | traditional | Caribbean | | | | ballet, African | | | | | rituals and | Received a | | | | African-America | fellowship to | | | | n | study the | | | | rhythms | dances of | | | | | African | | | | Grounded and | diasporic | | | | weighted | communities in | | | | movement that | Caribbean and | | | | reflected | South America. | | | | Afro-Caribbean | She visited | | | | influences | Martinique, | | | | | Guadaloupe, | | | | | Haiti, Jamaica | | | | | and Brazil | +-----------------+-----------------+-----------------+-----------------+ | Lester Horton | 1906-1953 | Emphasises | Dancer, | | | | whole body  | choreographer, | | | (American) | | and teacher | | | | Influenced by | Horton | | | | indigenous | developed a | | | | dance, | modern dance | | | | Japanese, and | technique | | | | modern dance | influenced by | | | | styles  | Native American | | | | | dances.  | | | | Strength, | | | | | flexibility, | He formed his | | | | and length in | own dance | | | | the hamstrings  | company, the | | | | | Lester Horton | | | | And the spine  | Dancers, in | | | | | 1932. | | | | Enables | | | | | unrestricted | His company | | | | and dramatic of | dancers | | | | freedom of | included | | | | expression  | company that | | | | | included Alvin | | | | Dunham | Ailey, Carmen | | | | -isolation vs. | de Lavallade, | | | | Horton whole | Joyce Trisler, | | | | body | and James | | | | (opposites)  | Truitte | | | | | | | | | New whole body  | Horton | | | | anatomical | technique | | | | approach  | uses flat backs | | | | | and lateral | | | | Focus on | stretches, tilt | | | | spatial | lines and | | | | awareness | lunges, all | | | | | movements that | | | | | could be found | | | | | in a jazz | | | | | warm-up. Horton | | | | | technique also | | | | | incorporates | | | | | lyrical, | | | | | circular | | | | | movements | | | | | focusing on | | | | | stretching in | | | | | opposite | | | | | directions. | +-----------------+-----------------+-----------------+-----------------+ | José Limón | (1908-1972) | Fall and | One of the most | | | | recovery\ | influential | | | Mexican-America | Weight and | American | | | n | weightlessness  | choreographers | | | | | Limon's | | | | Use of breath  | powerful | | | | | choreography | | | | Themes from | often focused | | | | literature, | on human drama, | | | | history, and | incorporating | | | | religion  | themes from | | | | | literature, | | | | Opposition and | history or | | | | succession  | religion. His | | | | | movement is | | | | Soulful  | described as | | | | | soulful | | | | | | | | | | Began his | | | | | studies with | | | | | pioneer modern | | | | | dancers Doris | | | | | Humphrey and | | | | | Charles | | | | | Weidman. | | | | | | | | | | Started his own | | | | | company in 1946 | | | | | | | | | | His technique | | | | | emphasizes the | | | | | natural rhythms | | | | | of fall and | | | | | recovery, a | | | | | conscious use | | | | | of breath, and | | | | | the interplay | | | | | between weight | | | | | and | | | | | weightlessness | | | | | | | | | | His work was | | | | | said to | | | | | "explore the | | | | | strengths and | | | | | weaknesses of | | | | | the human | | | | | character | +-----------------+-----------------+-----------------+-----------------+ | Erick Hawkins | (1909-1994) | Contraction and | Inspired by | | | | decontraction  | German | | | American | | expressionist | | | | Arcs and | dance | | | | curves  | (ausdrucktanz) | | | | | Hawkins studied | | | | Momentum  | at the School | | | | | of American | | | | Flows and | Ballet. | | | | transitions  | | | | | | Soon he was | | | | Believed in the | dancing with | | | | use of imagery  | George | | | | | Balanchine\'s | | | | The pelvis was | American Ballet | | | | the center of | | | | | gravity | Hawkins was the | | | | | first man to | | | | | dance with the | | | | | company of the | | | | | famous modern | | | | | dancer and | | | | | choreographer | | | | | Martha Graham. | | | | | They married | | | | | and later | | | | | divorced | | | | | | | | | | He developed | | | | | his own | | | | | technique based | | | | | on the | | | | | interrelatednes | | | | | s | | | | | of the world | | | | | which is | | | | | predicated on | | | | | the pelvis as | | | | | the centre of | | | | | gravity, | | | | | contraction and | | | | | decontraction, | | | | | arcs curves and | | | | | momentum, flows | | | | | and | | | | | transitions. | | | | | | | | | | Hawkins also | | | | | believed in the | | | | | use of imagery | | | | | to shape | | | | | movement and | | | | | intention | | | | | (known as | | | | | ideokinesis) | | | | | | | | | | Long time | | | | | collaboration | | | | | with avant | | | | | garde musician | | | | | Lucia | | | | | Dlugoszewski | +-----------------+-----------------+-----------------+-----------------+