Rosalind Crisp

© photo : Patrick Berger)

Workshop I samarbete med Dansalliansen. 4-7 februari. Daglig träning kl.10.00-12.00 Workshop 13.00-16.30

Här ansöker du till workshopen med deadline den 27 januari! https://ansok.dansalliansen.se/workshop/choreographic-improvisation

Rosalind Crisp is one of Australia’s foremost dance artists. She founded the Omeo Dance studio – home to experimental dance in Sydney (1996-2004). Invited to Paris in 2003, she became the first choreographic associate of Atelier de Paris-Carolyn Carlson (2004-2012). The Atelier managed and toured her company work in Europe for ten years. In 2016 the French Ministry of Culture awarded her a Chevalier de l’Ordre des Arts et Lettres (Dame of the Arts).

For over thirty years Rosalind has been developing a radical physical critique of dance, through dancing. The foundation of her practice is her consistent solo studio research and her long-term collaborations with, amongst others: Celine Debyser, Max Fossati, Lizzie Thomson, Andrew Morrish, Bo Wiget, and dance scholars Isabelle Ginot and Susan Leigh Foster. In 2014, in acknowledgment of her influence on many generations of Australian dancers, the University of Melbourne – VCA made her an Honorary Fellow. Rosalind currently lives and works between Europe and Australia.

Beyond analogy, Crisp’s movement is astonishing in its sheer otherness, … the standard syntax of dance is erased. It’s magical…
Keith Gallasch, RealTime
http://www.omeodance.com/

 

Choreographic improvisation – a workshop with Rosalind Crisp

Rosalind will introduce her practice of choreographic improvisation – a dynamic set of principles and practical tools that guide a dancer’s attention to the continual process of composing in real time with the materiality of the body. The body is prepared by undoing held tension and unquestioned patterns and pathways. Breath, weight, and sensation are prioritised. Practical tools and compositional parameters guide the exploration of movement sourced from touch, texture, imagination and every part of the dancer’s body – parts that are anatomically segmented or fictitiously separated. Processes of flow, delay and rupture detach the dancer from presenting “moves” and guide attention to the continual emergence and shaping of dance material in a shared and porous relationship with an audience.

Photorapher:  Anna Solé

Daily training Monday-Thursday 10.00-12.00

The morning session will be a guided warm-up engaging with the materiality of the body – it’s breath, weight, bones, contents, surfaces…
Attention is given to releasing extraneous effort, bringing awareness to the sensations of the body, developing support underneath the body, undoing patterns,
and experiencing the body as both one whole and as many separable and independent parts. The materiality of the body as a generative source for movement.
Although these sessions are not about learning and reproducing movements, over the four days there will be an accumulation of information.