isadora duncan virtual museum
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MUSICAL MOTION AS CHOREOGRAPHIC SYSTEM
(layout script)
http://idvm.w.pw/texts/4146.htm
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There are two common misconceptions (the stereotype, traditional myth) about the dance of Isadora Duncan.
1) Dance was founded and built on CHARISMA IN PERSON ONLY,
Duncan dance was extremely individual, and therefore can not be
repeated today.
2) Duncan has NOT LEFT A GUIDE for learning the dance of
children and adults, and so the education system by Duncan impossible.
The first myth is registered in ballet encyclopedias and usually
voiced by orthodox ballet lovers wishing to diminish the role and
significance
Duncan in the development of the art of dance.
Similar phrases uttered and ordinary townsfolk who perceive
dance Duncan as the external form, not as a phenomenon in its inner
essence.
Normally, when you do not even sound keywords such as HARMONIC CANON, POLYPHONIC COMPOSITIONS and OVER TASK.
Isadora Duncan was reading Immanuel Kant. Why and for what she
did? To understand this, you need to read Kant himself, and not blindly
repeating memorized phrases from the Soviet encyclopedia.
Duncan opened the people dance in its pure form, built upon the
metaphysical laws of pure art. In the harmonic art of the dance of
Isadora Duncan desire for harmony and beauty expressed in perfect
shape.
Based on the music, it has come to move to the harmonic canon,
and why was the main and only the founder of modern dance.
Duncan has made a perfect match of emotional expressiveness of music and dance images.
It was a new approach to the art of dance, a new method of creative
expression, which was outside the scope of traditional aesthetic ballet
school.
The movement was born out of the music, rather than preceded it.
Music - a movement expressed in sound. Duncan dance - it's not a dance, it's music of movement.
http://rutube.ru/video/7d2fda8541a733c341d0ca765db1c972/
Follow the Duncan ideas - does not mean to copy her movements,
it does not mean absurdly lift up knees and repeat "the Greek move".
Duncan did not like this and treat all of this sort imitators with
undisguised contempt.
If we consider duncan system as a way of thinking, as a
philosophy, there is a completely different task - not to teach dance,
and reveal a student innate ability to dance and creativity.
When we speak of free movement, the free spirit in a free body, almost every child - duncan pupil.
http://www.youtube.com/watch?v=SzkGAMdX5n4
Duncan was not detailed methodological guide for the
choreography, but she left behind THE BASIC PRINCIPLES of learning,
innovative approaches, ideas and philosophy of the true dance.
And the first one who tried to present the basic choreographic
approaches Duncan didactically structured system of exercises was
Stefanida D. Rudneva (1890-1989), russian dancer and methodologist for
children's education, one of the founders of the method of musical and
aesthetic education "Musical Motion".
She and her followers managed to unlock the mystery of fusion of
music and movement in the artistic image. Rigorous scientific and
aesthetic analysis gave a huge theoretical material that reveals many
secrets of Duncan technology, and enabled the development of HUNDREDS
OF EXERCISES, consistently developing in practice, musicianship,
locomotion student, his aesthetic sense and creativity in it.
http://www.youtube.com/watch?v=2IlJthgxVVk
•
•
MUSMOTION IMPERATIVUS
1. It is strictly forbidden to substitute a sense of rhythm by
mathematical ARITHMETICAL ACCOUNT, mechanically coordinate movement
with music. Children need to take a holistic music and follow the
development of musical thought.
2. In the first place on the musical-educational value is
INDEPENDENT WORK of children over the pieces of music, dance
improvisation. Children do not replicate movement educator. The
movement is not memorized children, and follows the musical phrase.
3. Children and teacher categorically FORBIDDEN TO SPEAK anything
in time with the music. Music should be respected and protected.
4. Classes are held with LIVE MUSIC. This achieves the greatest effect of compassion and empathy musical design.
5. Children DANCE BAREFOOT. The natural setting of the foot
creates good posture and do not deform the body inverted positions as
in ballet.
6. Each session is held MUSIC GAME. This allows you to attract
children to the action (movement) within the scope of their immediate
interests.
Music game allows children to draw attention to the
characteristics of the content and duration of each piece of music,
each musical image (to the plot and the construction of the work).
Music game - a spell introduce children to music, to understand
its content, to thinking, comprehension of its expression. In children,
the ability to open up the creative imagination and dance
improvisation. Learning to dance the dance naturally, "without
cramming". Children do not just get used to feel the shape of the work
and all the nuances in the character of the music, but also learn the
skills of communication in the collective-dimensional compositions.
A child does not just start to dance - he begins to listen to
and understand music, he began to create their own dance, it becomes a
Painter, Poet, Creator, Person.
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PS
Classical choreography and musical movement - they are different
types of dance activities. They differently revealed the meaning of the
nature of creativity, which, of course, affects the inner world of the
child forms his artistic thinking and attitude to art, to life in
general.
Will
a child dancer in the future, or will not, it's the latter, do not have
to think about it, when he was just entering the world of dance. The
training system should focus not on it, and the education of the
essential qualities of a harmonious personality.
Musical Motion, as a system of aesthetic education can take its
rightful place in the education of children, bringing them to the dance
creativity.
And everyone should have a choice - how to dance and why...
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Материал с пометкой "википедия" предназначен для публичного обсуждения и коллективного редактирования. Текст не является завершенной авторской статьёй, а представлен как исходный текст и повод для размышления. Вы можете свободно редактировать тест, удаляя то, с чем вы не согласны, исправляя то, что считаете неудачным и, добавляя от себя то, что считаете необходимо добавить и сформулировать иначе.Все желающие приглашаются к участию в Конкурсе на лучший сценарий к сюжету о Музыкальном движении.
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http://idvm.chat.ru/texts/4146.htm#ru
http://idvm.narod.ru/texts/4146.htm
http://x.co/2ephm
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MUSICAL MOTION AS CHOREOGRAPHIC SYSTEM
МУЗЫКАЛЬНОЕ ДВИЖЕНИЕ КАК
ХОРЕОГРАФИЧЕСКАЯ СИСТЕМА
(макет сценария)
[Проход на фоне Петербургской консерватории]http://idvm.chat.ru/texts/4142.htm
http://idvm.chat.ru/texts/4135.htm
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Музыкальное движение (промо)
http://www.youtube.com/watch?v=-UMofGBJg1g
http://video.yandex.ru/users/troulp/view/11/
Все желающие приглашаются к участию в Конкурсе на лучший сценарий к промо-ролику о Музыкальном движении.
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Сценарий "Музыкальное движение"
(социальная реклама, промо-ролик, не более
минуты)
В главной роли: Девочка 9-10 лет.
Гамма чб, в стиле ретро-кино.
Сцена 1.
Взлохмаченная, в круглых очках, под стук метронома, заунывно скрипит смычком по крышке фортепиано.
Слоган: "Она ненавидела классическую музыку"
Сцена 2.
С балетной пачкой под мышкой и с пуантами в руке понуро бредёт по улице зодчего Росси.
Слоган: "Её не приняли в Вагановское училище"
Сцена 3.
С размазанным по лицу вульгарным гримом рыдает в кулисах на фоне танцующего хореографического ансамбля.
Слоган: "Она не заняла 1-е место"
Гамма меняется на цветную.
Сцена 4.
Выходит в открытое пространство.
Слоган: "Она сделала правильный выбор"
Сцена 5.
Танцует под классическую музыку.
Слоганы:
"Гармония света"
"Свободный танец Айседоры
Дункан"
"Радость творчества"
Сцена 6.
Рукой рисует в воздухе светящиеся буквы.
Слоган: "МУЗЫКАЛЬНОЕ ДВИЖЕНИЕ"
Титры.
Центр Айседоры Дункан
Санкт-Петербург, 2012
http://duncan.ru.tf
Конец.
http://ecodance.chat.ru/method.htm
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