Moving from General to Specific Movement Options / Voice Work

 


 

 

I

 

The Score

vs.

The Blocking 


 The term "dance score," or movement score, refers to notations showing sequences of movements performers are supposed to use that is, they are documents showing choreography.


Blocking is the precise staging of actors in order to facilitate the performance of a play, ballet, film or opera. ... During the blocking rehearsal, the assistant director, stage manager or director takes notes about where the actors are positioned and their movement on stage.

 

Question 1

 

In which way is blocking different from the movement structuring you have done in class? Why is this distinction important for your work?

---------------------

 

II

 

 VOICE

 

Voice Warm Up

Voice Exploration

Voice Harmonies

Solo Improv

 

Finding the voice for the instrument, score,etc. Add the voice or voices to the text.


III



Activity 1

Students will create a sequence of voice propositions (using extreme of consciousness) which they will be able to remember. Their voice phrase added to the text and the structure phrase will be the result of the three aspects of the extra-daily techniques listed bellow.

 Thus, infuse your character with your own personality, your own history and movement abilities and peculiarities. Those making up, please, create this sequence on your own and reflect on your experience by writing your reflection on Discussion Board.


-------------------

 

IV

 

A Dictionary of Theater Anthropology 

Link:

https://www.google.com/books/edition/A_Dictionary_of_Theatre_Anthropology/BUAAZMWm1WQC?hl=en&gbpv=1&bsq=extra-daily

Extra-Daily Techniques (pg. 5)

The performers work is the result of the fusion of three aspects:

1. The performer's personalities, sensibilities, artistic intelligence, social personae,  uniqueness.

2. Traditions and social historical contexts.

3. Use of physiology according to extra daily techniques


Question 2


What are the use of extra-daily techniques important for performers to take into account when embodying movement within the context of their own story?

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 VII

Journaling



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