Moderní tanec na principech Graham/Limón - Balladine
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Moderní tanec na principech Graham/Limón

 

Graham and Limón Technique

Martha Graham, considered one of the mothers of modern dance, formed her company in 1926. Her choreography stems from an emotional and personal place, and so does Graham technique. “The visceral physicality needed to dance the work connects to inner feelings,” says Virginie Mécène, director of the Martha Graham School of Contemporary Dance. Three signature moves define Graham technique: the contraction, the release and the spiral. The Graham contraction is a C-curve of the spine. The release is the response to the contraction, which returns the spine to a neutral position or opens the breastbone to the sky. The spiral is a twisting of the torso that starts at the pelvis and then moves up the body. Combinations of these three movements “allow the dancer to project out into space,” Mécène says. After more than 85 years, the Martha Graham Dance Company is still performing and touring.

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Mexican-born José Limón moved to NYC at the age of 20 and studied with modern dance pioneers Doris Humphrey and Charles Weidman. Later he formed his own company and developed a distinctive style. “Limón technique is not codified—there aren’t movements and positions that you always do,” says Alan Danielson, school director at the Limón Institute. “For José it was about the infinite possibilities of dance.” A Limón class emphasizes breathing through the body and expanding your range of motion. “We work on bouncing, swinging and percussive movement,” Danielson says. “Timing, shape and energy are all important factors.” The Limón Company performs and tours regularly. 


Lektor Josef Koutný o kurzu: „Moderní tanec považuji za otázku citu, a estetiky projevu, proto dbám na procítěné pohyby ovšem s technickou přesností, kterou moderní tanec založený na principech technik Graham a Limóna vyžadují. Zároveň dbám na to, aby nezanikal v záplavě technické dokonalosti tanečníkův osobitý projev. Každý pohyb má být řízen, ale musí se v něm nacházet něco vyššího, éterického. To však nikoho nemohu naučit, ovšem mohu poskytnout klíč k tomu jak má každý v sobě najít ideální projev. Můj cíl tedy není dril a technika, ale povznesení na vyšší sféru vnímání tance jako součásti každého z nás.“